Publikumsudvikling – strategier for inddragelse eller institutionel udvikling?

The term ‘audience development’ is currently employed in cultural policy and within art institutions in order to address questions concerning cultural participation. It centers on two parallel discussions: On the one hand it addresses participation as a democratic ideal, and on the other hand it frames specific forms of audience engagement and the inherent and diverging understandings of participation.  This article shows how the discourse developed about audience development reduces the discussion to either legitimizing existing cultural policy practice or to strategies for arts marketing, and it suggests that other important perspectives from e.g. performance studies are overlooked in the discussion of art institutions and their current dilemmas. The article presents a model that sums up four parallel discussions unfolding about audience development: cultural practices, aesthetic strategies for interaction, post performance reflections and everyday life. It is argued that all of these four perspectives need to be addressed for audience development to sincerely challenge the prevailing understanding of art institutions and their current dilemmas

Podcast som eksamenform

I efteråret 2010 indgik podcast-produktion som en del af eksamen i kurset “Analyse og dokumentation” på Performance-design, RUC. Forsøget udsprang af en grundlæggende interesse for at inddrage digital teknologi i undervisningen og et ønske om at udforske mulighederne i eksamensformen ’aktiv deltagelse’. Nærværende artikel diskuteres baggrunden for og evalueringen af forsøget for dels at bidrage med konkrete erfaringer og dels at illustrere de mange fordele ved at lave sådanne forsøg, som tager udgangspunkt i et ønske om at inddrage digital teknologi i undervisningen på en måde, som kan kombinere faglige og pædagogiske ambitioner med pragmatiske hensyn

From Forgotten Works - to Staging as Form

This chapter examines Hotel Pro Forma’s staging of Rachmaninov’s Troika: three operas. Aleko, The Miserly Knight and Francesca da Rimini produced at the Belgian opera, La Monnaie and shown at the National Theatre in Brussels

Fra glemte værker til iscenesættelse som form: Hotel Pro Formas opsætning af Rachmaninov Troika

“Opera is an omnivorous monster. Opera is the result of countless skilled craftsmen, technicians, musicians, singers, artists and administrators work. Opera is passion. Opera is lie and truth in the purest form” as stage director Kirsten Dehlholm wrote in the program to Rachmaninov Troika – hers and Hotel Pro Forma’s staging of Sergei Rachmaninoff’s three operas: Aleko, The Miserly Knight and Fransisca da Rimini produced by the Belgian opera, La Monnaie in Brussels, June 2015 - the first time these three operas were being staged together. In this article we discuss the concept of the art work by examining how Rachmaninov Troika balances between 1) revitalizing these three more or less forgotten music historical operas and/or is creating a new piece of work

Teater, tid og tendenser

Theatre, Time, and Tendencies Contemporary reflections on historical accounts of performing arts in Denmark In this co-authored paper we examine a selection of publications on theatre history from the last hundred years. Our query has focused on their delimitation of the concept of theatre and the relation between a national Danish and a more comprehensive international perspective. On these grounds we discuss the implications of the various historiographical approaches in their different contexts