Archives For DC theatre
New blogger request for forgiveness, the original post needed more before I moved on. All updates, made 1/24/15 appear in this fetching orange.
A Google search of audience engagement yields a bevy of infographics:
And many definitions… (underlining all mine)
From Doug Borwick’s blog Engagement Matters:
“Audience Engagement is a marketing strategy designed for deepening relationships with current stakeholders and expanding reach over time. Also internally focused (artcentric), it may result in new modes/venues of presentation and means of illuminating/explaining the arts to the public. Typically, ‘outreach’ is an example of audience engagement.”
From Trevor O’Donnell’s blog Marketing the Arts to Death: (link updated)
“Development professionals are unusually adept at initiating, nurturing and sustaining relationships with community members so the fit is ideal: engagement is merely an extension of the work that development departments already do.”
From WolfBrown’s Report Making Sense of Audience Engagement:
“Audience engagement is defined as a guiding philosophy in the creation and delivery of arts experiences in which the paramount concern is maximizing impact on the participant. Others refer to this vein of work as ‘enrichment programming’ or ‘adult education.’
Is it a “marketing strategy” as Mr. Borwick suggested? What does that mean for measuring success–ultimately only in numbers of people and dollars through the door?
Is it more relationship cultivation akin to development as Mr. O’Donnell suggested? If we embraced this, might it dramatically alter arts funding practices?
Is it essentially an organizing principle + strategic thinking framework as WolfBrown suggested? Why look outside of arts organizations’ artistic programming to do that; why not radiate from the artistic experience outward? Engagement as artistic imperative?
#thisdefiningaudienceengagementshitcanbesuperconfusing
SO WHY DON’T YOU TAKE MY WORD FOR IT!?!
You caught me: I launched another definition into the blogosphere. But the intention of doing so, as an artist-administrator obsessed with integrating artistic and organizational advancement work, is to simplify and personalize, and stop the “whose responsibility should it be” back-and-forth that many definitions of audience engagement result in.
Points of clarification:
- “Artcentric”: extending Mr. Borwick’s definition, audience engagement is driven by our role as artists in our community; therefore, our sweep of activities is going to be driven by our work (a.k.a. the art).
- Mission Oriented (or even driven!): audience engagement should be an extension of your raison d’etre. Work within the enabling constraints of why the organization exists and what it seeks to accomplish.
- Organization Curated: at the most basic level, someone inside the organization originated the audience engagement program idea or is saying “yes” or “no”; organizations can provide tremendous leeway and agency to collaborators and partners but audience engagement is selected and “held” by the organization.
- Different from Community Engagement and Audience Development: these all have different outcomes. (More on IMHO the difference in a future post).
In addition to knowing why your particular organization (based on its mission) is embarking on this “audience engagement” thing, a baseline of shared values must exist and woven into the fabric of every activity.
And that seems as good a place as any to stop, and step away from the keyboard.
Do you have a preferred definition of audience engagement, whether it’s your’s or someone else’s?
We at A Big Eyed Fish would love to hear it!
Prologue
I am following up on recent DC theatre community hullabaloo and this New York Times piece about Oscar nominees.
Cannonball
This is a Helen Hayes Award:
It does close to nothing to advance individual theatre artists or arts organizations. Being nominated or receiving one. That is not meant to be an ungracious statement in the least. But really: let’s dispense with this belief.
#1
I was over the moon ecstatic for my husband the year he was first nominated for Outstanding Lighting Design. It was one of his first shows at a larger regional theatre, early in his professional career. I was even more ecstatic when he received his first award. Both designs, in my hyper-critical-but-also-super-biased opinion, were high caliber. In subsequent years, regardless of the quality of the production, designs of his that were truly outstanding were looked over and functional designs which looked like lights on stage or were just nothing earth-shattering were nominated for awards…. and nominated in “competition” with one another. My husband has been nominated over 10 times and received 3 HHAs. He has received ONE (1) gig as a result of the award. (Which is a long story.)
#2
Matt Wilson, J. Argyl Plath & Jon Reynolds from 2011 premiere.
I was shocked, like scene-from-a-movie said “did they just say Beertown?” shocked when dog & pony dc received its first and only HHA nomination for Outstanding New Play or Musical for Beertown. Making the show had nearly broken up the ensemble, and to have made it through the 14-month devising and production in one piece, have the show critically well received, have decided to remount a show for our first time ever, then suddenly be heading into the remount with either an HHA nomination or an HHA winner felt like a triumph for a barely 4-year old company. More importantly for us, a company no one seemed to understand, we got to the the first ensemble to be nominated for this award: 17 of us were “the playwright.” 17 of us attended together with significant others and sat together and had a lovely reunion. When they didn’t say Beertown had received the award, we breathed a strange sigh of relief. When they showed the Beertown artwork last in the coming-soon montage, all of us agreed this was the Awesomest Night Ever. Because we were there with each other.
Yes, d&pdc lists the HHA nomination as an accomplishment because it gave us street credit and matured us slightly in the eyes of some larger funders, out of town producers, etc. However: no one locally sought to hire any of us, book any of us, or give any of us money. No one who saw Beertown in summer 2012 reported on our audience survey they came because they heard about the HHA. Most reported they heard it was a great show that they missed the first time around.
And so…
The largest thing Washington, DC’s theatre service organization, theatreWashington, does for theatre companies and artists is to produce an annual awards ceremony and party. Instead of questioning that fact, the community always seems to be questioning the way tW is coordinating and producing the awards and party. In every sub sector of our community, at every budget scale level.
Radical inquiry, but are we experiencing a tension here between service priorities and community needs? Possibly a tension DC theatres and artists are unable to see because we just accept the status quo of service?
- Create and invigorate audiences
- Strengthen the regions theatrical workforce
- Celebrate the excellence on Washington stages
tW’s first goal is to ensure its own operational stability; second is to heighten awareness of the theatrical landscape; third is “TO UNIFY AND STRENGTHEN THE PROFESSIONAL WASHINGTON REGIONAL THEATRE COMMUNITY THROUGH INNOVATIVE AND VALUED PROGRAMS AND SERVICES.” (emphasis mine)
Once I start meditating on tWs “about us” information these questions come to mind. And so I leave them with you:
Who is in control of the service–needs narratives in our personal and professional lives?
How can providers be responsible and accountable to their communities?
How can communities see beyond a set needs or a sphere of interests to one that is more broad or limited, more strategically short or long term?
How can a community leverage agency?
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