When Ron Evans started thinking about how to make post-show talks more appealing and accessible, he found audiences hungry for new ways of engaging with the arts.
Theatrical productions typically give priority either to the playwright’s text or the director's interpretation. Eve Leigh challenges theatre to move on from these hierarchical models and open up new space for more trusting and collaborative work.
The over-hyping of projects, initiatives and schemes really grates at a time when creative education in schools is being systematically sidelined. We need to realise what we are losing before it's too late, says Pauline Tambling.
Action learning, part of the Boosting Resilience programme, is highly valued by participants and facilitators. But what is it exactly, and what benefits does it offer?
Biennials have emerged as a key influence in contemporary exhibition-making. Shwetal Patel and Sunil Manghani explain how a more informal approach to art opens up new experiences and audiences.
The cultural sector has become a self-endorsing closed shop and it’s high time for a shake-up. Simon Dancey throws down the gauntlet and commits to leading the charge.
Limited opportunities are preventing the authentic voices of disabled directors and writers from being heard. The sector needs to stop talking and take action, says Nicola Miles-Wildin.
At a time when the UK is looking to tighten its borders, Julia Grime looks at how German theatre has been welcoming the cultural initiatives and political messages of its growing refugee population.
How can arts and culture reach a broader audience that more accurately reflects local communities? Sarah Boiling explores how to change the pattern of who engages with the arts.
Noise-induced hearing loss can be career-ending for professional musicians, as demonstrated in a recent case at the Royal Opera House, writes Tim Turney.
Barriers to collaboration between universities and black and minority ethnic community organisations could be removed says Katherine Dunleavy, whose research points to a positive way forward.
How can arts organisations develop the best possible strategy for their customer relationship management and ticketing systems? Helen Dunnett suggests some steps to make the task easier.
What is the importance of creativity for young children? Ruth Churchill Dower explores the wide-ranging and ultimately limitless benefits of arts activity.
Why do some in the sector feel that babies and toddlers have little to offer as audiences or participants? On the contrary, says Charlotte Arculus, working with this group is never boring.
The opportunities for very young children to experience the arts in rural Devon are few, as well as inconvenient and expensive. How can less culturally engaged families enjoy live performances, asks Amy Bere.
Making a product or service scarce or exclusive has become an effective way to attract customers in other sectors. Tim Baker explores how it might work in the arts.
Venues need a better understanding of customer spending habits for purchases like pre-show meals and interval drinks. James McClure explains how a ticketing solution is providing a comprehensive view.
