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Live-to-screen may offer plenty of opportunities for engagement on multiple channels and platforms, but we need more and better analysis to start to fulfil its potential, says Anne Torreggiani.
Need to forecast attendances or ticket sales? Jenny Scudamore explains how to make better predictions.
As technology becomes an increasingly distracting force, it’s down to live entertainment to tempt people to set aside their devices and be present with each other, says Dave Wakeman.
Live entertainment is still a big draw for the Netflix generations, but how should arts organisations go about building relationships with them? Olivia Carr shares some advice.
A research project into audience development practices across Europe has issued a set of recommendations and guides for cultural organisations.
Digital platforms enhance audience engagement in museums and galleries but can the same be done in the performing arts? Ben Walmsley discusses a research project in contemporary dance.
Performing in concert halls around the world makes setting ticket prices tricky. So, explains Jane Donald, the RSNO begins by asking one simple question.
Presenting social issue dramas and storytelling events in a pub in Newport is reaching audiences looking for entertainment rather than art. Julie Benson tells the story.
Does dynamic pricing actually benefit theatre producers or audiences? Steve Rich isn’t convinced.
Data shows that audiences for many artforms are ageing. Anne Torreggiani calls on the arts sector to anticipate and accommodate the changing needs of younger generations.
After updating its approach to data collection and sharing, Sadler’s Wells noticed a surge in email sign-ups for its visiting companies. Sebastian Cheswright Cater and Matt Kirby tell the story.
Joe Hallgarten proposes a new solution to the uncomfortable fact that attendance at taxpayer-subsidised arts events remains stubbornly skewed by social class.
Many international dance companies tour the UK thanks to the Dance Consortium, but venues, young dancers and many others also benefit from its work. Ros Robins explains how.
In a bid to listen more to its audiences, Manchester’s Royal Exchange Theatre launched a collaborative project that resulted in an ‘audience manifesto’. Amanda Dalton shares the surprising results.
The concert-going experience is the same as it was over a century ago – it’s time to make some changes. David Taylor shares five suggestions.
Watershed in Bristol has learnt from its customers with hearing impairments how to be more welcoming, including by learning basic signing. Louise Gardner tells the story.
Graeae has successfully developed D/deaf and disabled audiences across the UK. Richard Matthews explains the principles and strategies that guide their marketing work.
PR is about so much more than column inches, but how do you measure a campaign’s success? Amy Finlayson guides us through her straightforward approach.
Catherine Bradley reveals five things you might not know about classical music audiences, discovered through Audience Finder data.
The Watermill Theatre’s new box office management system has increased ticket sales and donations, and encouraged customers to book earlier, says Libby Penn.