{"id":2156,"date":"2020-01-05T16:24:36","date_gmt":"2020-01-05T21:24:36","guid":{"rendered":"https:\/\/managementandthearts.com\/5e\/?p=2156"},"modified":"2020-01-05T16:24:44","modified_gmt":"2020-01-05T21:24:44","slug":"management-and-the-arts-5e-january-2020","status":"publish","type":"post","link":"https:\/\/managementandthearts.com\/5e\/blog\/management-and-the-arts-5e-january-2020\/","title":{"rendered":"Management and the Arts 5e \u2013 January 2020"},"content":{"rendered":"\n

Immersively Engaging? Broken Museums? <\/em><\/p>\n\n\n\n

Happy New Year! I thought these two subject areas \u2013 immersive theatre and the role of museums \u2013 would make for stimulating class discussion topics. They both cover issues that arts managers are grappling with, and that asks essential questions about how we engage with audiences and communities. <\/p>\n\n\n\n

An Immersive\n\u2018Wolf\u2019?<\/strong><\/p>\n\n\n\n

The Wolf of Wall Street<\/em> opened as a play in London in\nlate November 2019 with the promise of being a unique immersive audience\nexperience. Anna James took this show as an opportunity to pose questions about\nwhat it means to stage an immersive production. Trying to create theatre that\ntests boundaries and explores the audience-performer relationship seems to be\nfinding its way on to stages around the world. <\/p>\n\n\n\n

There are numerous discussion topics embedded in James\u2019\nstory, as well as useful experiences and insights by other directors and producers\nabout recent immersive productions. The production of The Great Gatsby<\/a>,\n<\/em>for example, produced some incidents where inappropriate audience behavior promoted\nActors Equity to undertake a survey of its members about their experiences with\nthese types of productions. <\/p>\n\n\n\n

I also included links to two reviews of \u201cWolf\u201d to provide some perspective about how the play was received. <\/p>\n\n\n\n

—————<\/strong><\/p>\n\n\n\n

Are\nMuseums Broken? <\/strong><\/p>\n\n\n\n

The six different responders to the question about the efficacy\nof museums provide a good range of perspectives for a class discussion or\nassignment. Each response gives us things to think about when it comes to issues\nmuseums face in 2020 and beyond. For example, Cha\u00e9dria LaBouvier \u201cthinks that\nthe way we think about expertise and how you acquire that expertise has to be\ntotally revamped.\u201d And Dana Kopel of the New Museum thinks the museum model is \u201cutterly\nunstainable and unethical.\u201d Another contributor notes that the cost of a sandwich\nin a museum caf\u00e9 can be more than many employees at that museum make per hour. <\/p>\n\n\n\n

The responses by these contributors to the \u201cbroken museum\u201d question\nclearly point to the need for those running any type of cultural organization to\nstep back and assess the status quo. Of course, many arts organizations are currently\nengaged in this critical self-interrogation process. However, it is vital to\nhave conversations with people who are generally not at the table; otherwise,\nefforts to change a cultural organization will come up short. <\/p>\n\n\n\n

Thanks again for being a subscriber to these updates and\nhappy new year. <\/p>\n\n\n\n

Bill Byrnes<\/p>\n\n\n\n

=================================<\/p>\n\n\n\n

Safety\nand immersive theatre: where should the boundaries be set?<\/a><\/strong><\/h3>\n\n\n\n

The Stage<\/a><\/em> by\nAnna James – Sep 3, 2019<\/p>\n\n\n\n

Immersive productions are increasingly popular, but\nsafeguarding issues remain thorny. Anna James speaks to theatremakers about how\nto keep audience members and performers safe in such close-proximity\nenvironments<\/p>\n\n\n\n

In the FAQs section on the website for the new immersive\nproduction of The Wolf of Wall Street, which opens shortly in London, is the\nquestion: \u201cShould I be concerned about the show\u2019s content?\u201d<\/em><\/p>\n\n\n\n

Given the source material \u2013 Jordan Belfort\u2019s 2007 memoir,\nwhich was adapted into a Hollywood film six years later \u2013 that showed the drug\nand drink-fuelled excesses of New York\u2019s financial district in the 1980s, it is\na question many have been asking in regard to safeguarding the audience and the\nperformers.<\/em><\/p>\n\n\n\n

The answer on the production\u2019s website reads: \u201cWhile the\nstory of The Wolf of Wall Street depicts misogyny and depravity at its core,\nthe team behind the production is committed to creating a respectful and happy\nenvironment for its audience and staff.\u201d<\/em><\/p>\n\n\n\n

The full article can be found at this link or by clicking\nthe story title above:<\/p>\n\n\n\n

https:\/\/www.thestage.co.uk\/features\/2019\/safety-immersive-theatre-boundaries\/?utm_source=newsletter&utm_medium=email&utm_campaign=christmasnewsletter<\/a><\/p>\n\n\n\n

Here\u2019s a link to a review of the show in the Hollywood Reporter<\/a><\/em> on Nov.\n29, 2019<\/p>\n\n\n\n

https:\/\/www.hollywoodreporter.com\/review\/wolf-wall-street-theater-1258518<\/a><\/p>\n\n\n\n

Here\u2019s a link to a brief review from the newspaper The Guardian<\/a>, also on Nov. 29, 2019<\/p>\n\n\n\n

https:\/\/www.theguardian.com\/stage\/2019\/nov\/29\/the-wolf-of-wall-street-review-immersive<\/a> <\/p>\n\n\n\n

———————————-<\/p>\n\n\n\n

Does the\nMuseum Model Still Work?<\/a> <\/strong><\/h3>\n\n\n\n

Hazel Cills, January 2, 2020 – Pop Culture Reporter, Jezebel<\/a><\/em><\/p>\n\n\n\n

In 2019, the art museum became a public battleground.<\/em><\/p>\n\n\n\n

From Decolonize This Place\u2019s<\/a> protests of Whitney board member Warren Kanders, to union drives at museums like the New Museum and Marciano Art Foundation, and curators calling attention to colonialist and racist museum practices, art workers, critics, and museum-goers are calling for an overhaul of the very idea of the art museum itself. Those actions strike at the very paradox of art museums; though exhibitions might have a progressive point of view and artists themselves might be making radical statements, as institutions, museums often possess retrograde politics, beholden to traditional forms of influence and power. But how can the traditional, \u201ccanonical\u201d art museum\u2014reliant upon wealthy donors, chained to private money, and often staffed via privileged pipelines leaving employees overwhelmingly white\u2014change to better meet the needs of the community it resides in and the public it seeks to educate?<\/em><\/p>\n\n\n\n

The full article can be found at this link or by clicking\nthe story title above:<\/p>\n\n\n\n

https:\/\/jezebel.com\/does-the-museum-model-work-1840149191<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Immersively Engaging? Broken Museums? Happy New Year! I thought these two subject areas \u2013 immersive theatre and the role of museums \u2013 would make for stimulating class discussion topics. They both cover issues that arts managers are grappling with, and that asks essential questions about how we engage with audiences and communities. An Immersive \u2018Wolf\u2019? […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"off","_et_pb_old_content":"","_et_gb_content_width":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[],"class_list":["post-2156","post","type-post","status-publish","format-standard","hentry","category-blog"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9mams-yM","post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts\/2156","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/comments?post=2156"}],"version-history":[{"count":2,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts\/2156\/revisions"}],"predecessor-version":[{"id":2158,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts\/2156\/revisions\/2158"}],"wp:attachment":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/media?parent=2156"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/categories?post=2156"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/tags?post=2156"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}