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1.
In current sociological literature the relationship between social inequality and patterns of cultural taste and consumption is the subject of a large and complex debate. In this paper the primary aim is to examine, in the light of empirical results from a research project in which the authors are presently engaged, three main, and rival, positions that have been taken up in this debate, here labelled as the ‘homology’, the ‘individualization’ and the ‘omnivore–univore’ arguments. Elsewhere, we have concentrated on musical consumption in England, and find evidence that is broadly supportive of the omnivore–univore argument. Here we ask whether such findings are confirmed in the case of theatre, dance and cinema attendance. A secondary aim of the paper is to bring to the attention of practitioners in the field of cultural policy and administration the need to address the issues that arise through the use of more powerful methods of data analysis than those often applied in the past. We explain how indicators of theatre, dance and cinema attendance derived from the Arts in England survey of 2001 can be subject to analysis so as to reveal two distinctive patterns of attendance and, in turn, two distinctive types of consumer—who can, it turns out, be regarded as omnivores and univores, even if with some qualification. The former have relatively high rates of attendance at all kinds of the events covered, including musicals and pantomimes as well as plays and ballet, while the latter tend to be cinema-goers only, that is, non-consumers of theatre and dance. A range of measures of social inequality are then introduced into the authors' analyses, including separate measures of social class and social status and also of educational level and income, and it is further shown that, again in conformity with the omnivore–univore argument, these two types of consumer are socially stratified. Omnivores are of generally higher social status than univores and also have usually higher levels of education and higher income than do univores (the latter finding marking the main difference with musical consumption, which was unaffected by income once other stratification variables were controlled). In sum, our results for theatre, dance and cinema attendance lend, overall, further support to the omnivore–univore argument as against its rivals, but also indicate that different aspects of social inequality impact on different forms of cultural consumption in varying degrees and probably through largely separate processes.  相似文献   

2.
Live theatre in Britain is performed by a host of companies in purpose‐built theatres as well as ad hoc venues. Theatre performances take place all over the country, in rural settings as well as urban environments, and no one will be more than 30 miles from a performance of some sort at some time in the year. In a typical year, over one third of the adult population attend live theatre, and 6 per cent attend opera or ballet, which tend to be presented in urban centres. The Department for Culture, Media and Sport sets store on the importance of the cultural sector and is encouraging arts organisations to develop new audiences in a host of ways.

This chapter of Cultural Trends reviews the available statistics for theatre attendance, considering raw numbers of attenders, ticket revenue, ticket prices and the types of work which are most popular in London and elsewhere. It identifies the sources of information available, although it asserts that the available data are insufficient to describe the sector fully. While pointing out that regional theatre is clearly targeting the future audiences, with as many as one quarter of its performances being aimed directly at young attenders, the chapter also indicates the extent of reliance, especially in the West End of London, on musicals.

An analysis of ticket prices shows that these have been, and are, rising faster than inflation. Coupled with the fact that, in the regions at least, it remains the older and better‐educated who attend theatre, this does nothing to diminish the concern that theatre may increasingly become the activity of a narrowing band of society, and that it is becoming less and less available to the broad spectrum of the population.  相似文献   


3.
What values do theatre and dance hold for audience members? And how do these values differ between subsidised, amateur, and commercial performance? This paper addresses these questions through a survey of over 1800 spectators for theatre and dance in Tyneside in northeastern England, as well as a parallel set of focus groups, in the spring of 2014. These methods, which are designed for comprehensiveness and comparability, are being used across Europe by the Project on European Theatre Systems, a working group of theatre sociologists. Our research showed two sets of values which performances achieved; one was a common measure of performance quality, while the other described the values particular to subsidised work. This allows us to articulate both the general value of the arts and the particular values which subsidy (attempts to) facilitate. This has implications for both understandings of cultural value and for cultural policy, as the distinction between the two groups was not clean. We also found that amateur theatre participated in the same value system, but with an increased emphasis on loyalty and community cohesion. The paper concludes a methodological reflection on the use of quantitative methods in theatre studies.  相似文献   

4.
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5.
ABSTRACT

The denial of Taiwan's status as a nation by international communities has long-served as a catalyst for Taiwanese theatre practitioners’ pursuit of an expressive body that responds to complex national identities. Taking Taiwanese society as the basis for considering the irreducible complexity of postcolonial struggles vis-à-vis the power relations of neoliberal cultural production, in the theoretical framework of this paper, I propose a biopolitical reading of modern Taiwanese theatre. In particular, to reveal the constructedness of the idea of the body, I foreground the embeddedness of theatre in local society and scrutinize the interplay between an imagined body and the theatre through Taiwanese practitioner Tian Chi-Yuan's (1964–1996) White Water (or Baishui, 1993). Using this work as a case study, I focus on his experiment of intercultural bodily gestures through which the fabrication of national identity is both revealed and questioned. I consider Tian's practice of integrating cultural traditions expressive of the dynamics of decolonization with the experiment in reconfiguring the local body—a practice that positions the theatre in Taiwan as an experimental and cathartic site for pursuing an epistemological change in identity formation. Thus, the theatre constitutes a performance of a necessary identity-burdened space between history and memory, struggling to renew itself in distinctive contexts.  相似文献   

6.
ABSTRACT

The early 1980s marks a significant period for modern theatre in Taiwan. It is often heralded as the “renaissance of modern Chinese/Taiwan theatre” through the reinvention of Chinese theatrical traditions, such as the Peking opera. This paper examines the connotations and denotations of “the West,” which serves as an important reference or counterpart in theatre practice of the period. An “open body” on stage was highly appraised and requested for theatre practitioners during the time. By historicizing the West in tandem with the concept of the “open body,” this paper calls attention to the socio-historical and the geopolitical aspects of the Cold War in Taiwan’s “theatrical renaissance.” “An open body” was emphasized in the first year of “Experimental Theater Exhibition” in 1980. Wu Jing-jyi, who had experienced working and directing in one of the most famous Off-Off-Broadway theatres, LaMaMa E.T.C in New York, led a series of workshops and training courses in “Lan-ling Theater Workshop” and created a new performing method on the basis of what they coined as “an open body.” Lee Kuo-hsiu, Liu Ching-min, Chin Shih-chieh, Lee Tien-ju – most of whom were and still are the leading actors and actresses in Taiwan – among others were all trained and influenced by this method. The magnificent production of the play Hechu xinpei was an example that followed the “open body” performance method. In this paper I make two main arguments. First, without examining closely what an open body signified at the time, the discursive formation of the body in the 1980s theatre renaissance cannot be fully comprehended. Second, I propose that the modern Taiwanese body that is open is simultaneously imbricated in relation to geopolitics, knowledge of Area Studies, and modernity – categories that the United States invented, led and developed throughout the Western bloc in the Cold War.  相似文献   

7.
ABSTRACT

While a great deal of attention has been paid to museum visit data in the last few decades, very little is known about long-term trends. This article examines the distinctive history of museum visits in Australasia through a comparative study of eight key institutions from across the region. Archival research was undertaken at each institution to compile as complete as possible a data set of annual visitation from opening until present day. Any stated changes in funding, admission charges, buildings etc. were also recorded, along with comments indicating contemporary explanations for fluctuations in visitation. Sources included official documents such as annual reports and trustee minutes, as well as visitor books and attendance records. We provide an initial overview of the quantitative and contextual data we collected from the case study museums focusing on a number of key questions: How have museums in Australasia been counting and reporting visit data over the past 150 years? What does this reveal about changes over time in the perceived value of visit data and museum attitudes towards their visitors? What are the key trends in museum attendance at the local, national and regional level in Australia and New Zealand? What contemporary explanations were given for fluctuations in museum attendance and are they supported by a long-term, cross-institutional comparison of the data? The study provides insights into historical shifts in thinking about the importance of visitors, appropriate methods for recording visitation, and the value of this data. The findings are also relevant to how museums today interpret attendance figures. The ways in which visit data were included or excluded from historical narratives about the value of museums highlights the constructed nature of visitor data and raises questions about the role of visitor research in contemporary museums.  相似文献   

8.
ABSTRACT

This article studies the Nazis' enthusiastic embrace of theatre in the period before and during the Second World War, and places this in a longer tradition of political power and the theatre in Germany. It argues that Hitler, Goering and Goebbels oversaw a ‘restoration’ of German theatre in the later 1930s, aiming to restore the emotional link between audience, Kultur and nation, for their own political purposes.  相似文献   

9.
Live entertainment has been a ‘given’ part of the total cultural offer since seaside resorts began. As resorts have changed, particularly in the 1990s, the type of live entertainment on offer has also been changing and it has become more important to consider whether such live entertainment continues to meet the needs of seaside theatre-goers, be they tourists, day-visitors, residents or people living within an appropriate drive time. The need for such analysis is also partly a response by seaside theatre operators to the government's requirement for the accountability of local authority cultural provision, but it primarily comes from recognition that greater knowledge, perhaps in relation to other resorts, might lead to a better appreciation of the difficulties facing theatre managers and policy makers at seaside resorts at the beginning of the 21st century. This article discusses the setting up, and first three years' operation, of a benchmarking exercise for live entertainment at seaside resorts. The initiative is a joint collaboration between the British Resorts Association and the Centre for Resort Theatre. The former is well known for its positive campaigning on behalf of seaside resorts and has joined with the latter to help present an accurate picture of an important part of the cultural offer at the seaside, the live entertainment. The Centre for Resort Theatre is an independent consultancy run by the author to ‘shine a light’ on seaside entertainment and develop research in this area. An analysis of the data collected through the benchmarking exercise reveals that seaside theatre operators are achieving good results, but that the potential of the material in the Centre for Resort Theatre database has only been partially exploited. The possibilities for greater use are implied. These could include tactical aspects of theatre operations (for example, which acts to book), or strategic aspects (such as issues concerning the long-term future ownership/control of seaside theatres).  相似文献   

10.
《Int J Intercult Relat》2004,28(3-4):201-219
The current study examines the influence of demographic factors, communication behavior, and cultural identity on the repatriation adjustment of 101 American sojourners returning from work assignments in 44 different countries. The results indicated that the demographic factors of age, marital status, length of sojourn, and attendance at debriefing had a significant relationship with repatriation adjustment. Levels of closeness in relationships and satisfaction with use of information and communication technology were also related to repatriation adjustment. In fact, several mediated forms of communication, such as email and the Internet, received as high or higher ratings than some types of face-to-face communication. Intercultural identity patterns (home favored, host favored, integrated, and disintegrated) were defined, and results on them demonstrated that integrated and home-favored patterns had the smoother repatriation adjustment, while disintegrated and host-favored patterns had more difficult repatriation experiences.  相似文献   

11.
Although high-definition television (HDTV) has led to more film and television content being presented in a widescreen aspect ratio, problems with formatting moving images in nontheatrical environments persist. Because of the different venues and delivery systems available for accessing televisual and cinematic content, the variety of high definition and standard definition television channels across cable and satellite providers, as well as the different aspect ratios filmmakers can choose to photograph their works, nontheatrical exhibition of the moving image continues to be a source of contention in the age of high definition. Drawing upon a number of comments from online home media forums, this study concludes that the variant quality of widescreen images for HDTV is not solely grounded on a subculture of home theatre enthusiasts, but rather how networks and studios negotiate new television technologies for the aesthetic preferences of both film and home theatre buffs and the general viewing audience.  相似文献   

12.
ABSTRACT

Do ticketing data and national survey data on attendance tell the same story? This question is particularly important in the context of debates over the power of new forms of data to supplant the “traditional” survey methods that have underpinned our understanding of the social stratification of culture. This paper compares three data sources on attendance: the Active Lives Survey, the Taking Part Survey, and Audience Finder. We first compare self-reported attendance at events in each English local authority from the Active Lives survey with ticket sales data, finding a close relationship. We follow up by comparing the distributions of ticket buyers across the Indices of Multiple Deprivation with those from Taking Part, finding that for widely-ticketed and widely-attended art forms they track closely together, providing support for existing trends. Ticketing data does not seem to offer more information on social stratification than traditional social science sources. However, we extend the comparison through more detailed analysis of subcategories within less well-researched forms – literature and dance events – where numbers of attendees are lower, with accompanying uncertainty in survey sources. We find that the audiences for dance vary widely, with ballet attendance being heavily socially stratified but attendance at contemporary dance much more similar to the general population. However, we find that audiences for literature events are more heavily socially stratified than almost any other art form, almost regardless of the subcategory. The power of new datasets is in offering specificity about artforms, rather than overturning what we know about culture and inequality.  相似文献   

13.
ABSTRACT

This note addresses two questions: what comparing patterns of attendance at a group of museums and art galleries since 1851 might reveal? and how might the museums themselves have explained those figures? This note considers the rises and falls of visit numbers amongst a sample of 15 London museums over a 160-year period, and how the institutions themselves perceived those figures. The data used here were gathered from the museums’ published annual reports and internal documents, including daybooks and memos. Their presentation here introduces readers to an exceptionally long time series, and to the conventionally neglected voices of museums’ managers, whose circumstances and attitudes informed those museums’ management. These notes show that certain external factors affected simultaneous rises and falls in the majority of museums’ figures across the sample, although there were always exceptions. Some trends are revealed as general tendencies over a number of years. Discrete internal factors, such as temporary closures and exhibitions create peaks and troughs at individual institutions.  相似文献   

14.
Cities around the world are challenged by a growing ethnic diversity and previous studies theorize that two of the factors that contribute to ethnic differences in public participation are conflict communication style and sense of community. This paper addresses these factors as predictors of community meeting attendance by two ethnic minority groups—African Americans and Korean Americans. Survey findings indicate ethnic differences as predictors of intent to attend a community meeting, and implications for facilitation of meeting processes are discussed. Further research is suggested to deepen understanding of how different ethnic groups perceive and respond to conflict in public meetings.  相似文献   

15.
Statistics on implementing secondary education in rural Iran indicate that such a process has not been successful. Data gathered by the author during 1974/75 fieldwork support such a conclusion. It is suggested that lack of success of secondary education in rural Iran may be attributed to some cultural and economic factors which vary for men and women. The importance of the modesty code and observation of purdah (seclusio?) may account for the low enrollment of females in secondary education in rural areas. However, the need for agricultural laborers in the villages may account for the low attendance of males. Background to the development of modern education is presented.  相似文献   

16.
ABSTRACT

An individual’s level of education has the strongest relationship with his or her arts participation. What is unclear, however, is why high-educated individuals are more likely to participate in the arts. Economic models indicate that price, income, and background are relevant to attendance, but the role these factors play among high-educated groups, like college students, remains underexplored. This study sheds light on what makes college students more likely to participate in the arts by evaluating a university’s investment in arts programming on campus. We analyse data from an experiment in which a university made substantial investments in arts programming largely centred on increasing access to the arts by providing more free programmes. Using pre- and post-intervention survey data, we analyse changes in students’ reported level of arts participation and barriers to arts involvement. The results from our analyses show that background, such as familiarity and experience in the arts, is the strongest predictor of increased arts participation among college students when prices are reduced.  相似文献   

17.
ABSTRACT

This article focuses on theatrical representations of India in the late eighteenth and early nineteenth century, with special reference to two stage productions, Ramah Droog (1798) and The Cataract of the Ganges (1823). It argues that whilst the plays may have intended to deploy India as a space upon which to outline a militaristic British national identity and bourgeois gender norms, they in fact reflected contemporary anxieties about the fragility of British imperial masculinity. Moreover, it proposes that though theatre directors sought to impress upon audiences a sense of imperial dominance over the subcontinent through the deployment of visual technologies, such attempts were not wholly successful, with spectators having the capacity to deconstruct the façade that lay before their eyes.  相似文献   

18.
This article utilizes oral history testimony to investigate cinema-going practices in the Holyland, a largely Protestant working-class community in post-war Belfast. It investigates the place-specific nature of cinema attendance, assesses the social practices of cinema-going and examines the reasons for the post-war decline in attendance and consequent cinema closures. Oral history testimony demonstrates the close link between the nature of cinema attendance, changes in the life cycle and urban mobility. By linking the recollections of post-war cinema-goers to broader social and economic developments in Belfast, and assessing Northern Ireland's relationship to the rest of the United Kingdom, this article investigates the reasons for the closure of the Apollo, the local neighbourhood cinema for residents of the Holyland.  相似文献   

19.
ABSTRACT

Understanding why people visit museums is of interest to both cultural economics and museum studies. Most existing research relies on survey data concerned with visitors, their immediate background, and their experience of a particular museum. Very few studies have taken a more general perspective and analysed macro-level societal factors, such as inflation, educational attainment and unemployment, and their influence on the number of visits to museums. The conventional approach relies on visitor surveys to understand what drives visits and people’s general views on museums.

In a departure from these conventional approaches, this article presents a macro-level approach, using a unique dataset of visit counts for 40 English museums and visitor attractions spanning the period 1850–2015. It examines the effect of socio-economic factors on visits using panel data analysis and macro-level variables. The results suggest that inflation rates, average earnings, and educational level (using the indicator of secondary school attendance) all significantly influence the number of visits made. However, the most important variable is the number of visits recorded for the previous year. These findings are discussed in relation to existing studies, and some suggestions for future research are proposed.  相似文献   

20.
ABSTRACT

This paper addresses how neighbourhoods operate as opportunity structures for cultural participation, and therefore how unequal access to cultural facilities might influence levels of participation and profiles of participants. The neighbourhood effects literature identifies how where people live shapes their lives, including their participation in various activities, but this has not been applied to cultural participation. Sociological theory explores the importance of social stratification of cultural consumption, but has largely ignored the role of place. In this paper sociological explanations of cultural participation are extended to incorporate the influence of access to cultural infrastructure. An innovative accessibility index for museums and galleries in London, using online searches to weight their attraction, is linked to the Taking Part Survey, and used to predict attendance. Alongside social stratification, significant neighbourhood characteristics are identified, including, importantly, access to museums and galleries. Improved access has a strong positive relationship with attendance, which varies according to qualifications and ethnic group: those with degrees are most likely to attend, but the relationship with access also operates for those with fewer qualifications, who according to traditional explanations have little disposition to attend. The implications of the substantial spatial inequity in investment in museums and galleries are discussed.  相似文献   

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