This paper explores how audiences describe and evaluate their experience of a live performance. Much of the arts marketing literature measures audience satisfaction with the entire event, including pre and post show talks, parking, ticket price, seating, merchandise and refreshments. Research undertaken at a range of live performing arts events in 2008 and 2009 revealed ‘hidden stories’ of audience members’ responses to performances. These responses are indicative of four aspects of the audience experience – knowledge, risk, authenticity and collective engagement. The stories, and their indicators, are the audience measure of quality of performance. This paper uses audience research at three contemporary theatre comp...
The live streaming of theatrical performances to cinemas has become increasingly common in recent ye...
'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Aud...
Purpose – The paper aims to demonstrate the usefulness of the 'audience exchange' approach for audie...
This paper addresses four indicators of the audience experience in the performing arts: knowledge, r...
Traditional measures of quality in the performing arts include critical reviews, awards, attendance ...
This article reports the findings of a questionnaire and interview study with arts audiences in a UK...
This paper charts an investigation into how creative and dialogic research methods can enhance under...
There is an emerging dissatisfaction with the current evaluative regimes for the quality and effecti...
Ontroerend Goed’s Audience is a theatre performance exploring the varying divisions between an audie...
Measuring the experience of audience of arts events is essential in the “experience economy” of this...
The ‘liveness’ of theatre performances is often presented as central to its definition, particularly...
That theatre is performed live is central to its definition, particularly in contrast with non-live ...
There are various methodological and philosophical points related to the researches that are conduct...
Coughing and Clapping: Investigating Audience Experience explores the processes and experiences of a...
This paper examines how audiences experience live opera performance and the behaviours they exhibit ...
The live streaming of theatrical performances to cinemas has become increasingly common in recent ye...
'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Aud...
Purpose – The paper aims to demonstrate the usefulness of the 'audience exchange' approach for audie...
This paper addresses four indicators of the audience experience in the performing arts: knowledge, r...
Traditional measures of quality in the performing arts include critical reviews, awards, attendance ...
This article reports the findings of a questionnaire and interview study with arts audiences in a UK...
This paper charts an investigation into how creative and dialogic research methods can enhance under...
There is an emerging dissatisfaction with the current evaluative regimes for the quality and effecti...
Ontroerend Goed’s Audience is a theatre performance exploring the varying divisions between an audie...
Measuring the experience of audience of arts events is essential in the “experience economy” of this...
The ‘liveness’ of theatre performances is often presented as central to its definition, particularly...
That theatre is performed live is central to its definition, particularly in contrast with non-live ...
There are various methodological and philosophical points related to the researches that are conduct...
Coughing and Clapping: Investigating Audience Experience explores the processes and experiences of a...
This paper examines how audiences experience live opera performance and the behaviours they exhibit ...
The live streaming of theatrical performances to cinemas has become increasingly common in recent ye...
'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Aud...
Purpose – The paper aims to demonstrate the usefulness of the 'audience exchange' approach for audie...