Tag: 10.26.16

First Look At George Lucas’s Futuristic Plans For A San Francisco Museum

“Call it hedging your bets, call it beefing up your odds, call it the architectural equivalent of quite publicly asking two people to prom on the same day: The dual-track proposal is an unusual gambit by any measure. And it suggests that rather than feeling chastened enough by those prior defeats to reassess his sales pitch, to slow down and rethink the plans for the museum in a wholesale way, Lucas is instead growing ever more impatient to get a deal done.”

Research: What Kind Of Arts Video Do Audiences Want?

“Based on our research data, digital content has two functions primarily: it develops the audience’s familiarity with the company’s work, and it aligns their expectations of a particular performance. Rather than using supporting materials to make a purchase decision, audiences tend to consume them after booking their tickets, to gain an insight into the story and creative process, reassure themselves of the quality of the company and production, and increase their level of anticipation ahead of the performance.”

Hal Prince: Theatre Needs More Producers

“Today, the producing population has been infiltrated by investors who assume the job title of “producer.” In the days when I was producing, I had 175 investors. They were press agents, company managers, actors, stagehands, and, of course, a few of my parents’ friends. But the names of producers above the title were never more than three. If you are a creative producer with an impressive track record, investors should have no serious role reading a script, contributing to the casting of a show, approving its decisions, and—guess what—attending the meeting the day after a show has opened and giving advertising advice.”

A Need For Women’s Theatre

“I believe in small, immersive theatre, and that the disappearance of the black box—which is happening all over—means devastation to the form. When we package theatre up and market it like dollar store pregnancy tests, we lose the power of the form. Women make up 50 percent of our world, so without the contemporary voices of women on today’s stages, audiences are only getting half of the story. Humanity cannot afford this. Especially not now.”

What Bob Dylan’s Non-Response To The Nobel Means

“The Nobel Prize is in fact the ultimate example of bad faith: A small group of Swedish critics pretend to be the voice of God, and the public pretends that the Nobel winner is Literature incarnate. All this pretending is the opposite of the true spirit of literature, which lives only in personal encounters between reader and writer. Mr. Dylan may yet accept the prize, but so far, his refusal to accept the authority of the Swedish Academy has been a wonderful demonstration of what real artistic and philosophical freedom looks like.”

Taking The ‘Hall’ Out Of ‘Concert Hall’ – Classical Organizations Move Into Un-Classical Venues

“Arts administrators are united in the belief that spreading music as far as possible, in both the digital and physical worlds, is more than just a marketing gimmick: It’s a strategy for survival. The world is full of intellectually curious, artistically adventurous young people who would no more buy a ticket to hear Brahms’s Requiem in concert at Geffen Hall than they would stick a stamp on a handwritten letter.”

In American Popular Culture, There’s No Such Thing As A Bad Police Shooting

“Decade after decade, pop culture has continued to churn out stories that justify and even lionize officers who kill. These stories first turned shootings – and they are almost always shootings – into acts of last resort by noble policemen, and later into exciting executions of dangerous villains. Hollywood has promoted the very myths that result in our being shocked when we see an officer shoot a fleeing person or fire into a parked car, as well as an inflated narrative of valor that generates a near-automatic presumption of the guilt of those killed by police.”