“Time has proven that the pre-inciting incident I Want Song is the most successful with audiences. It gives the characters the power to make choices and influence the plot. When the characters are making choices, they are more sympathetic.”
Category: AUDIENCE
When Audience Accessibility Is Part Of The Art
“Theatres are increasingly making their work accessible for deaf and disabled audiences in a more creative, integrated fashion and are placing issues of access right at the heart of their design.”
Teens Have Not Stopped Reading, And David Denby’s New Yorker Jeremiad Is ‘You Kids Get Off My Lawn’ Journalism
“Ah, it appears that, fleeing human connection, lost to their reductive gender-specific pastimes of sports and, um, friends, teen hyphen agers (The teen hyphen ager! In the pizza parlor! With the smart phone!) have murdered reading. But soft – no one is dead yet, not even you, geriatric Cassandra. Nor are the teen hyphen agers brain-dead.”
We’re Using A Totally Bogus Standard To Judge The Success Of Musicals
“Where once a musical running one or two years would have been a great success, that achievement has now been devalued. The 1989 production of Andrew Lloyd Webber’s Aspects of Love was the first time I heard the expression ‘West End failure’ applied to a show that had, in fact, run a very credible 1,325 performances but was being compared to Lloyd Webber’s previous musical, The Phantom of the Opera.”
Lara Downes: How To Make Music Matter
Downes says the “chemistry” between performers, between performers and audiences, and between all people and music explains why — during social upheaval and at times of great joy and heroism — classical music is a natural anecdote or a means of celebratory expression. “People pull out Beethoven when world events happen and they just need something beautiful.”
Happy Poor People: What Kids Learn About Class From Hollywood
A team of sociologists “took the 32 G-rated films that, as of January 1, 2014, had grossed more than $100 million, and that included a character who had a social class (Bambi, for example, did not), … and watched the films carefully to get a sense of which messages about class they communicated.”
Where Do You Draw the Line Between Commercial and Literary Fiction?
James Parker: “I draw it up the side of the Boston Public Library. I draw it through the middle of Stephen King’s wallet. I draw it right between the frontal lobes of every writer who ever lived.”
Rivka Galchen: “Maybe Commercial Fiction is really great, or maybe it’s great the way a Dorito is great, but Commercial Fiction is in some way consonant with the market. … If, though, we didn’t have the term Literary to protect books of value that ¬aren’t brilliant as commerce, then we would have Melville’s Omoo and Typee but not Moby-Dick.”
There’s Another Play That Has Audience Members Literally Fainting
“Five people have fainted watching the graphic scenes of torture, rape and violence in the National Theatre’s latest production while 40 walked out in the show’s first week.”
John Killacky: What I Learned From My Week On Twitter
“My tweets got 102,700 impressions over the week, averaging 14,700 per day. However, the engagement rate was only 1.6%, which is pretty typical for the site. On Twitter, everyone has a megaphone, but few take incoming calls.”
Website Intends To Put Every Public-Owned Piece Of Art Online
“Although the public owns the art, about 80% is in storage, on the walls of council offices, fire stations hospitals and other civic buildings, or in the Palace of Westminster, where portraits line the walls of the Speaker’s magnificent reception rooms where the project was launched.”