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Screened versions of live performances are mostly made by large organisations and consumed by those that would attend the arts anyway.
A new model of digital distribution is giving rural communities the chance to see filmed performances of dance, opera and theatre at affordable prices. Denzil Monk explains how.
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.
Live screenings and event cinema are diversifying audiences by making art accessible and available to everyone, argues Daniel Fountain.
A new digital distribution platform is piloting an initiative that will see filmed performances by leading cultural institutions screened in community venues including arts centres, libraries and pubs.
New industry-wide research finds the majority of live cinema audiences are regular cultural attenders, but a significant proportion are inspired to try wider arts events for the first time.
The sector needs to start from scratch and develop a national strategy for screening or audiences will continue to lose out, warns English Touring Opera.
The impact of streamed, screened and on-demand broadcasts on live theatre and touring is to be assessed by a new study.
When Pilot Theatre first livestreamed a theatre production eight years ago, it did not foresee this leading to a significant new income stream, says Marcus Romer.
Some performing arts producers and venues report that screenings are negatively affecting their organisations, but the big players are split on whether structured reform to the industry is necessary.
The Government gives its backing to the geographic re-distribution of arts funding but remains silent on key Select Committee recommendations.
The failure to share data is hindering audience development and must be addressed as a condition of funding, says ACE.
Live broadcasts are attracting a dedicated older audience who value affordability and accessibility, a new survey has found.
Kate Rolfe explains how RADA and Curzon Cinemas are working together to encourage their respective audiences to broaden their cultural experiences.
When it opened in 2009 the cinema screen at the Grove Theatre in Dunstable saw average audiences of about 40 people, but data-led marketing has worked wonders, explains Claire McFauld.
Lesley Anne Rose describes Stellar Quines’s journey from analogue to digital – and the bright light at the end of the tunnel
Deborah Herring describes how the ICA Student Forum is helping aspiring arts practitioners to develop their skills; to the benefit of their peers and the wider ICA audience