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Captioning live theatre performances for the deaf is often seen as costly and inflexible, says Laura Arends. But new automated technology promises to be "truly transformative".
A year after setting up a blog, Hilary Machell and Yvonne Battersby reflect on their experiences from initial nervousness to an award shortlisting.
How does a tiny Georgian theatre survive in a working class town? Esther Harris talks to Richard Stride, owner of the Groundlings Theatre in Old Portsmouth.
Rich Hadley believes that cultural organisations must lose their "remote, elitist, rarified, out of touch and unyielding" image.
Huddersfield Contemporary Music Festival has an enviable international reputation but how does it go down with the locals? Sarah McWatt tells of activities and opportunities designed to reverse preconceptions.
Burns Night is celebrated in some style in Dumfries, with three days of music, theatre and carnival. Graham Main describes how thousands of local people take part and many more attend.
Are membership schemes a great idea or a lot of work? In the first of two articles Alex Youel helps you think through your business objectives and membership design before it’s too late...
How much has the arts marketing role changed in the last twenty years? Strikingly, says Sarah Chambers, who examines what is now required to market culture.
The Old Vic’s community theatre projects may be uneconomic and time-consuming, but Steve Winter and Alexander Ferris believe they make a valuable contribution to the theatre’s output.
Collaborations with a yacht club, fishermen and many others are set to increase engagement in the arts in the Canterbury region. Lucy Johnson describes the ‘Prosper’ project.
Dianne Greig explains how Glasgow’s galleries and museums are collaborating through the WhiteNOISE project to develop the city’s audience for the visual arts.
Yorkshire declares independence while Scotland joins forces
A new online knowledge bank combines information and guidance on bringing art and audiences together. Pam Pfrommer gives the background to the initiative.
AP has always shared the best practice on audience development with the sector, says Liz Hill.
Chrissie Tiller says bringing opera into everyday spaces may broaden its audience.
Andrew McIntyre outlines a new approach to exploring cultural engagement which provides an insight into people’s behaviour – and how to change it.
ACE’s strategic funds aim to improve audience engagement levels