Tessitura的动态

?? Fantastic funding news to start the week... Congratulations go to Professor Anne-Marie Greene who is the Co-Investigator on the first major UK Research and Innovation-funded study of local theatres, along with colleagues from Royal Holloway, Central School of Speech and Drama, and Sunderland. ?? This interdisciplinary research takes place when localism has re-entered the political lexicon, and aims to transform understanding of theatre-making as local, hyperlocal, and translocal practices. The objectives are to: 1?? Increase understanding of theatres as local cultural and community assets by engaging a wide range of stakeholders. 2?? Strengthen inclusive approaches to theatre-making, producing, and programming across amateur, professional, and youth contexts. 3?? Support local talent by identifying creative opportunities and skills development, enabling career progression for theatre-makers in their home towns and cities. 4?? Inspire theatre-makers to re-imagine what ‘local’ means in the past, present, and future by co-creating theatre that explores historical injustices and hidden exclusions. 5?? Understand the impact of increased localised decision-making on theatres. 6?? Build long-term capacity by supporting new voices in theatre and the academy.

https://lnkd.in/eTXQa9aX from ￡5?lunch included???If inclusion is needed for excellence, why aren't enough people taking it seriously???Devoted & Disgruntled Satellite is a nationwide conversation about theatre and the performing arts, hosted by theatre company Improbable using a process called Open Space Technology, a simple way for groups of people to think, work and take action together around a shared concern. There is no set agenda and you decide what to discuss.Join Underground Lights Community Theatre as we navigate our way through fundamental questions that need addressing in the arts. We believe that without radical inclusion there is no excellence. But we don’t see that belief reflected by large parts of the arts sector. Why not? How can we change that? When we talk about “inclusion” and “excellence” what do we mean? How can we as a sector bring them closer together?If any of this resonates with you in any way, we need your voice!Tickets for this event range from ￡5 to ￡15, on a Pay What You Can system. Please select whichever ticket price you feel you are able to afford. A limited number of a free tickets are available [email protected]

The big news of the day is that Toronto's oldest movie theatre, the historic Revue Cinema, is shutting its doors amidst landlord disputes. This news comes on the heels of the Science Centre closure, the Hot Docs theatre closure, and the closure of Ontario Place. These cherished places are incredibly meaningful to the people of Toronto: public green space, museums and arts venues are not simple gathering places for residents of our city, they each play a spiritual role in fostering spaces for reflection, rest, escape. Especially for poor artists. In the privacy of our little dinner parties, the most common question circling around the minds of young and emerging artists revolves around housing: can we afford to live in the city anymore? When we are presented with such hostility by our provincial and municipal administrations? Without our theatres, where we will screen our films? In the midst of a severe housing crisis, where will we live? Big questions amidst these tragic closures.

"The true power of the arts is the ability to make the invisible visible. It's an immensely powerful thing." Award-winning actor and author Paterson Joseph mentioned this during yesterday's The City Club of Cleveland "Diversifying the Media Production Industry" panel discussion. Paradoxically, we're in an era where the greatest access to information and knowledge is being coupled with a movement attempting to sensor -- and in some cases outright erase -- history and said access. Yesterday's discussion was a powerful display of why the arts continue to be a direct line to culture and history and why they are more vital today than ever before. The importance of elevating and participating in the arts is not only a guaranteed way to experience diverse cultures and backgrounds, but also the quickest and purest way to leverage and celebrate our differences. For example, being in the crowd of an Indigenous performance by Kenneth Shirley (panelist - Indigenous Enterprise, LLC) will circumvent barriers that reading a book may offer and instead directly allow you to experience the culture. There's nothing (and no one) in between you and experiencing Indigenous culture. This was the lightbulb moment for me yesterday while listening to these panelists (Patterson, Kenneth, and Gabriela Mu?oz). Yes, the threats against our diverse history and knowledge are real, but the arts afford everyone an avenue to have first-hand diverse experiences devoid of barriers. If you're in the crowd, nothing is coming between you and your cultural experience. BorderLight Theatre Festival's 2024 Festival is live in Cleveland now through July 27. Their mission: to present innovative theatre that inspires, builds cross-cultural understanding, and celebrates the diversity of the human experience. If you're in the Cleveland area, now is the time to participate and celebrate our differences and the human experience. Check out their website for a complete schedule and for more information: https://lnkd.in/gX-jpuVB (Great to meet you, Rachel Costanzo! Keep up the great work!) #Culture #Diversity #Arts #Cleveland

??DAY 3 - INNOVATION & COMPLIANCE THEATRE - 13:50PM?? Join Steven for an examination into the impact of the stack effect?and explore the areas of specific importance. He will also discuss the requirements of the applicable standards and implications on system design. Register for your FREE ticket here?? https://hubs.la/Q02mvXpQ0 #FSE2024 #FireSafety #FireSafetyEvent

Today we spotlight Early Theatre for participating in our S2O program and a publisher of original, peer-reviewed scholarly research on medieval and early modern performance and theatre history. They also celebrate and showcase critical studies of plays and performances. In particular, the editors encourage original discussions of underexplored plays, authors, or types of performance; arguments that challenge conventional assumptions about periodization, performance, or reception; and studies that bring new theoretical, critical, or performance approaches to bear on early texts. Discover and explore the full list of S2O publishers here: https://bit.ly/MUSE_S2O #s2o #openaccess

New dataset of musical versions, built from public metadata on Discogs.?We identified 1.9M versions across 348K music works, over 25% of which we mapped to official music uploads on YouTube. ?? Dataset: https://lnkd.in/edMsPm8D ?? Paper at #ISMIR2024 (see you there): https://lnkd.in/emx2yFJi

After a trip to the Torch Theatre no live event to write about this week. The national company has written about itself over 30 pages of text; there I returned. It is a place that has no like. Words of self-describing are deployed where the actions in the world are the complete opposite. "The annual report by the National Theatre of Scotland for 2022/2023 offers analysis of its audience by gender, ethnicity and age group, with a comparison with the prior year. A graph shows the location of the audience based on the Scottish index of multiple deprivation. "The number, as illustrated, “76,751 people attended our productions and events” is printed in large-format text and repeated. The National Theatre of Wales: audience data is restricted. No analyses or feedback are admitted into the public domain. "The word “transparency” occurs five times in the Welsh report. Its last occurrence reads on page 21: “NTW is developing a new communications approach... centres audiences and prioritises transparency, including a new tone of voice and website.” "The new website, as recorded, removed the decade-long record of community participation." https://lnkd.in/eFqwWU-q

I am not used to people laughing when I present my research, and as you can see in the video, pausing for laughter is not quite part of my skill set. A few months ago, I presented my research at the Improv Comedy Copenhagen | ICC Theatre as part of their Mind Games concept, where research and comedy meet. After my presentation, the talented improv comedians did a set inspired by my presentation. It was so much fun to experience, and I am happy to have it all recorded. I am not brave enough to share it all, but here's a snippet. I really want my research to cross the border from being something for other researchers into something beyond that. My goal is for my research to have a societal impact and to help inform our understanding of digital youth culture, but for now I'll settle for having a room of curious people laugh. Maybe that's the first step to informing the world. Mind Games happens regularly, so check out ICC's website for info on their next event: https://icc.culmas.io/

Theater a/d Rijn invites you to the Symposium: Relaxed Performance as a Creative Force on Monday 17/06. In this day-long event, we invite everyone to reflect on the phenomenon of relaxed performance as a creative force for diverse theatrical experiences. These practices aim to create an open and welcoming environment for people with different needs and disabilities, in particular by providing a low-stimulus experience. But can we look beyond this pragmatic perspective? Questions being explored: - How can ideas around relaxed performance generate new ways of thinking about performing arts? - In what ways can relaxed performance be places of encounter? - How can we curate accessible spaces that account for the wide range of needs within different disabilities? - How can we use the tension between relaxed and exciting to think creatively? The Symposium itself is also a relaxed event and is mostly in English. Tickets The entrance to the Symposium is free, but we ask you to register in advance via the?ticket button: https://lnkd.in/ezfkZNDs