How can you maintain creative control while negotiating with audiences or fans?

I agree, it’s very important to know your audience and what they want. I think it’s equally important to understand why they are watching your show. Is it purely entertainment or have they come to experience something more challenging?

Creative control is a bit of a oxymoron. Creativity thrives in a collaborative environment where people feel safe to experiment and all imput is valued. The best stuff always floats to the top and while it's the directors job to keep the production true to the writers intention, everyone involved recognizes when it feels exactly "right."

To mantain creative control while negotiating with audiences or fans we must me 100% authentic. They know the difference. Market insight and understanding is the key for creativity (not art) If you use that as a base and deliver it in the most honest and authentic level, you do not need to negotiate.

Offering controlled choices to your audience when possible is helpful. For example, present different options for cover art, song releases, or storylines, allowing them to participate within predefined parameters. Be open to evolving without losing your essence. Adapt to audience preferences "selectively", finding ways to incorporate trends or feedback that resonate without compromising your core vision. I have put in selectively in quotes as you need to learn to differentiate between constructive criticism and baseless negativity. Value thoughtful feedback that adds value to your creative process while disregarding purely critical or hateful comments.

Create something that what will change YOUR life. Around 1987 I read a screenplay that had just sold. I couldn't put it down! It was WELL written & as dramatic as it needed to be. Schulman won the Oscar in 1989 for Dead Poet's Society & had the best stories of movie "collaboration" I'd heard of; BUT the SCRIPT was GREAT. Unknown actors like Ethan Hawke & Robert Sean Leonard improvised (the desk scene, wow), when Weir (director) & the writer didn't like how that scene played. When you can read the remarkable collaboration stories about it. It was Robin Williams greatest dramatic work. Talents like Williams,Weir, Schulman (& others) were more than team players they suspended time. Do something meaningful first. Your audience will find you.

In my experience, it is always good to know what the audience wants or expects which in the case of the British Theatre Playhouse, it is consistency — outstanding prominent performers from the West End and quality entertainment with proof of its class and pedigree that results in audience engagement, respect, and admiration. We keep them guessing what we will be producing and presenting next. We also use our productions and platform to benefit and raise awareness of worthwhile charities through our established “Art for Charity” Gala events.

Be careful about confusing core values or artistic identity with stubbornness! Refusing to listen to your audience because you really like something does not inherently make it in conflict with your core values or artistic identity!

First of all find opportunities to workshop pieces of a production if you can. Test out the smaller bits in a safe environment if you might need to work out any kinks or aren't sure about a new piece. It's important to always have a sense of humor if things go a little awry. Always have a plan B. If something isn't working out, adjust and make it seem like it was part of the show. Remember, they only see the show that you show them, not the show you thought you were going to show them. Make sure to debrief with every member of the cast and staff to get good intel about what is working or not. The security guard might see everyone sneaking off to the bathroom at a specific moment that others miss, or overhear comments you should know.

A piece of work is constantly evolving. Both as a choreographer/director and a performer, it is important to gauge what works and what does not work in any given moment. What works at a small venue might not work at a large venue for example. For live performances, I often build works for the proscenium stage, which I’m aware would not work if the audience was all around the stage; I can recognize that some work made for one stage can be adapted for another.

Adaptability and flexibility is most important in all fields especially when you might depend on ticket sales. Looking at not what is just popular but what is also newsworthy. What should we be thinking about in our Adaptable, flexable world that were living in.

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One way to focus their energy is to give them a section where they can co-author an experience. Make it clear that is their time to effect what is going on, such as asking for suggestions for a improvisational act, or singing along, or clapping along with a performer. Some shows even let the audience help determine which ending. Find some places to give them autonomy or authority so they feel a part of it, but be clear when it's their turn. Have a funny or on-theme plan to re-engage or quell any 'overzealous' audience members. Have a cast or staff member who is trained at the art of redirection or a funny intervention.

I do not negotiate with my audience and yet I have to acknowledge that there is such a thing called aesthetics and it must not be ignored.

If some of the topics or choices might be controversial, you can even turn that into an advantage. Offer special nights (that cost a little bit more money) where the audience can come early for a discussion. Create behind-the-scenes content which can be played on social media, or in the lobby beforehand as part of an installation, or while people are waiting in line.

As long as there is integrity in my creative choices and I have a clear intent, the audience will at least be inspired to further question the concept presented. I wish to go on stage with no expectations, only wishes, and I believe the audience can empathize with that; as long as I don’t cheat the audience I don’t need to justify myself.

So many ways to recognize the audience: - Clapping back to them at the end of the show - Small gifts and collectibles - Discounts for drinks or nearby businesses - Early bird discounts for repeat guests - Meet & greets on select nights where they can meet producers or cast members after for an upsell - Showcase certain dedicated fans on social media - Gamification can be fun. They earn prizes for attending many times or solving puzzles related to the show. - Send them holiday greetings via email or cards. And so on...

When asking for feedback it is helpful to be as specific as possible. Often giving them a choice of one or the other keeps everyone focused. And also allow an option to add anything else they would like to say. Remember to listen. It’s not about you being right… it’s about communication with clear intention. If your audience isn’t getting what you want them to understand, it’s your responsibility to adjust the message.

As an artist I do not negotiate with my audience, I do not give them what they want, I give them what I believe they need. I do pay attention to feedback during and after the performance so I can assess how successful or not I was at inspiring the audience. As for feedback on my craftsmanship, I exchange with other artists working with the same crafts. It is an important difference between Art and entertainment: entertainment is what people want whereas Art is what people need.