Il pubblico del teatro contemporaneo: fra auto-osservazione e processi di fruizione digital
There has been a growing interest in the study of performing arts audiences over the last three decades. This interest is expressed both at an organizational level, by the increasing presence of audience development and audience engagement initiatives, and within the expanding multidisciplinary field of academic research on theatre audiences, which interweaves economics, cultural marketing, the sociology of culture and audience studies applied to theatrical reception...
Performing art e industria culturale alla prova del pubblico. Il caso della danza contemporanea: un’analisi - Performing art and cultural industry. The case of contemporary dance: an analysis digital
Dance is one of the performing arts that has been promoted the transformation of artistic research. In spite of its ritual origin, dance must be seen as an art form within the scope of the twentieth-century spectacle, as a part of leisure time and entertainment, to deal with the market and the public, as well. And it is the viewer’s gaze to come into play in analyzing communicative spectacular event. In fact, far from being the target of the proposed expression, the viewer is the actualizer of the potential meaning of the scenic event, increasingly stressed by abstract forms, less didactic, not subject to linear fruition, from cognitive and emotional challenges which must be more generally considered within contemporary art. On this basis the theater spectators were the subjects of an exploratory research on contemporary dance sponsored by the c_a_p Collective committed to the promotion of contemporary dance in the territory of the province of Rimini. The article aims to focus on the findings of the open request of the questionnaire asking for their point of view on dance both as an art form and a cultural product. The answers allow to identify a typology of attitudes towards dance ranging from the definition of it as an artistic form to the idea of it as a particular area of the relationship between the supply of live performance, the production and fruition strategies. Then, in relation to the goals of the empirical research, the article sides with the viewer and his/her observation. Finally, the paper tries to show how a marketing approach, suitable to contemporary dance, depends on the need to recognize and synchronize with the specific forms of this particular cultural object and its publics.
‘Outdoor performance’, ovvero forme ed estetiche della comunicazione esterna. Un’analisi digital
This paper analyzes some forms of outdoor communication through the interpretative lens of performance, starting from the pre-assumption that, partly thanks to artistic activity and to the relative autonomy, it is possible to observe the construction of a communicative form diffused over the contexts of media production and of social expression practices. Beginning with a definition of performance as communicative practice – from its ritual origins to avant-garde and present-day artistic experimentations – the paper tries to demonstrate that performative artistic manifestations can be considered the expressive mold of many forms of outdoor communication, eventually reaching the definition – for descriptive purposes – of a small outdoor performance typology, referring to specific exemplificative cases. This typology includes cases involving the use of interactional dynamic between performers and participant spectators; the forms of festive performance, related to the organization of events; the so-called brand installations; and also cases featuring an active and creative involvement of the consumer/performer. A dimension which should be seen as a hook towards what can be considered, starting from performance, as a departure point for new relational dynamics between production and consumption, while also being related to the emerging fields of outdoor communication represented by technological networks and the world wide web.
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