Chapter 1 The Audience Experience Changing roles and relationships
DOI: 10.23912/978-1-906884-20-8-1434 | ISBN: 978-1-906884-20-8 |
Published: April 2011 | Component type: chapter |
Published in: Key Issues in the Arts and Entertainment Industry | Parent DOI: 10.23912/978-1-906884-20-8-1361 |
Abstract
This chapter will focus on the changing role of the modern-day consumer and audience member and explore the implications of this development for arts and entertainment organisations. It will begin with an exploration of the ‘experience economy’ (Pine and Gilmore, 1999), demonstrating how the changing needs, abilities and expectations of audiences and consumers are effecting revolutionary shift in behaviour from the traditional push from producers towards a creative dialogue, where consumers have at least a voice and sometimes even an equal role as artist and co-producer. The chapter will go on to discuss the rise of what we’ll call ‘creative interaction’, the intermediary space where professional artists, producers, venues and content providers join their audiences and consumers to create or experience something new together. This discussion will be underpinned by a focus on the changing role and mission of arts and entertainment organisations from privileged gatekeepers to facilitators.
Sample content
Contributors
- Ben Walmsley (Author)
- Anna Franks (Author)
For the source title:
- Ben Walmsley, University of Leeds (Editor)
Cite as
Walmsley & Franks, 2011
Walmsley, B. & Franks, A. (2011) "Chapter 1 The Audience Experience Changing roles and relationships" In: Walmsley, B. (ed) . Oxford: Goodfellow Publishers http://dx.doi.org/10.23912/978-1-906884-20-8-1434
References
Alcoa (1942) 'The place they do Imagineering'. Time, 16 February, p.59.
Arts Council England (2009) 'Bedroom DJs', London, Arts Council.
Arts Council England (2010) 'Audience development and marketing', London, Arts Council.
Bennett, T (2009) Culture, Class, Distinction, London: Routledge.
https://doi.org/10.4324/9780203930571
Butler, P.D. (2000) 'By popular demand: marketing the arts', Journal of Marketing Management, 16 (4), 343-364.
https://doi.org/10.1362/026725700784772871
Can TW and Goldthorpe JH (2007) 'The social stratification of cultural consumption: some policy implications of a research project', Cultural Trends, 16 (4), 373-384.
https://doi.org/10.1080/09548960701692787
Clague, M. (2004) 'Playing in 'toon: Walt Disney's "Fantasia" (1940) and the imagineering of classical music', American Music, 22 (1), 91-109.
https://doi.org/10.2307/3592969
Compton, J. (2010) 'TakeOver Evaluation Study 2010'. York: Belt-Up Theatre.
Govier, L. (2009) 'Leaders in co-creation: why and how museums could develop their co-creative practice with the public, building on ideas from the performing arts and other non-museum organisations', Leicester, University of Leicester.
Imagineering Academy (2010) 'What is imagineering?', Breda, the Netherlands: Imagineering Academy.
Keen, A. (2007) The Cult of the Amateur: How Today's Internet is Killing our Culture and Assaulting our Economy, London: Nicholas Brealey.
Mulhearn, D. (2008) 'Joint accounts: asking for input from members of the public seems like a good idea in principle, but it is often quite a delicate process', Museums Journal, 108 (9), 22-25.
Musolife.com (2010) 'Scottish Opera plans opera for babies', Musolife.com
Pine BJ and Gilmore JH (1999) The Experience Economy: Work is Theatre and Every Business a Stage, Boston, MA: Harvard Business School
Simon, N. (2010) The Participatory Museum, Santa Cruz, CA : Museum 2.0.