Titlebook: Audience Engagement in the Performing Arts; A Critical Analysis Ben Walmsley Book 2019 The Editor(s) (if applicable) and The Author(s) 2019

Sediment

书目名称Audience Engagement in the Performing Arts影响因子(影响力)




书目名称Audience Engagement in the Performing Arts影响因子(影响力)学科排名




书目名称Audience Engagement in the Performing Arts网络公开度




书目名称Audience Engagement in the Performing Arts网络公开度学科排名




书目名称Audience Engagement in the Performing Arts被引频次




书目名称Audience Engagement in the Performing Arts被引频次学科排名




书目名称Audience Engagement in the Performing Arts年度引用




书目名称Audience Engagement in the Performing Arts年度引用学科排名




书目名称Audience Engagement in the Performing Arts读者反馈




书目名称Audience Engagement in the Performing Arts读者反馈学科排名

BAIL

有说服力

Book 2019ment of arts organisations. Illustrating how audiences have traditionally been side-lined, homogenised and vilified, it contends that the future paradigm of audience studies should be based on an engagement model, wherein audiences take their rightful place as subjects rather than objects of empirical research..

大厅

Understanding Audiences: A Critical Review of Audience Research, ritual; reception theory and semiotics; research methodologies; the audience experience; value and impact research; young audiences; arts marketing and management; audience engagement and enrichment. The aim of this taxonomy is to inform a new paradigm for audience studies in the context of the performing arts.

BOAST

strdulate

tympanometry

https://doi.org/10.1007/978-3-8349-6487-8 the relative agency that audiences have in engaging with performance. It then explores the phenomenology of audiency, including the roles that empathy, immersion, arousal, catharsis, intersubjectivity, and embodied and enactive spectatorship play in shaping audiences’ experiences.

太空

https://doi.org/10.1007/978-3-322-94424-5his for arts organisations and for cultural policy? In response to these questions, the chapter contends that only interdisciplinary and multi-perspectival approaches will ever be nuanced enough to capture the multidimensional value of audiences’ experiences.

lattice

https://doi.org/10.1007/978-3-322-83540-6e traditional marketing mix for contemporary philosophies, modes, and techniques of audience engagement, and suggests an alternative, audience-centred paradigm fit for contemporary arts marketing scholarship and for twenty-first-century performing arts organisations.

共栖