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

書(shū)目名稱Audience Engagement in the Performing Arts影響因子(影響力)




書(shū)目名稱Audience Engagement in the Performing Arts影響因子(影響力)學(xué)科排名




書(shū)目名稱Audience Engagement in the Performing Arts網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱Audience Engagement in the Performing Arts網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱Audience Engagement in the Performing Arts被引頻次




書(shū)目名稱Audience Engagement in the Performing Arts被引頻次學(xué)科排名




書(shū)目名稱Audience Engagement in the Performing Arts年度引用




書(shū)目名稱Audience Engagement in the Performing Arts年度引用學(xué)科排名




書(shū)目名稱Audience Engagement in the Performing Arts讀者反饋




書(shū)目名稱Audience Engagement in the Performing Arts讀者反饋學(xué)科排名

BAIL

有說(shuō)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..

大廳

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.

共棲