David Byrne Interview: Advice to the Young
The Barber of Seville – ‘Ecco, Ridente in Cielo’
Live Screenings ‘Won’t Kill Theatre’
Cinema broadcasts of plays and musicals are only a “minimal threat” to touring work and have a positive impact on theatre companies, according to a landmark new study.
The research – a joint effort between Arts Council England, UK Theatre, the Society of London Theatre and AEA Consulting – asked theatre companies, producers and audiences about the rise of event cinema and watching theatre online.
In recent years, several theatres across the UK have raised concerns that so-called live-to-digital may lead audiences to abandon going to the theatre for the cinema alternative.
But of 243 companies surveyed, 38% said the advent of live-to-digital has had a positive impact, compared with only 13% who said it had had a negative impact.
Cheaper tickets and convenience were found to be the biggest motivations for audiences to attend event cinema screenings rather than live performances.
Two-thirds of audience respondents gave “less travel” as a reason to attend event cinema, while 40% cited less expensive tickets. Just under 40% said that the live performance being sold out was motivation to go to a broadcast instead.
A third said event cinema was more engaging than the live experience.
(via)
How To Use Film Titles Creatively
Daniel Barenboim | 5 Minutes On Beethoven – The Moonlight Sonata (C# minor)
Join The Royal Opera Chorus in 360°
Ever wanted to take centre-stage at Covent Garden with our world-class Royal Opera Chorus?
A new virtual reality experience allows aspiring performers across the globe to get a taster of what it’s like in the run-up to opening night, as they stand on stage in the centre of a rehearsal.
Whose Dance Is It Anyway? The Show That Asks You To Guess The Choreographer
Unknown pleasures: do we enjoy art more if it’s anonymous?
What kind of value judgments and viewing habits do we bring to the theatre when we are watching a new piece of dance? It’s a question posed by Dance Umbrella and CCN-Ballet de Lorraine in their new, joint production, Unknown Pleasures. By presenting an evening of five new works, whose choreography, design, lighting and music all remain anonymous, they are inviting audiences to look at the stage with their senses rinsed clean of all preconceptions – and all PR.
It’s a bold and engaging experiment, challenging the roles that reputation, context, gender and age play in our evaluation of dance. But much as I enjoyed the novelty of the concept (and the freedom of arriving at the theatre without making any advance preparation)
Photograph by Tristam Kenton.
(via)