Clayton Lord on new art and new audiences
Where does the meaning of a piece of work live? When does its particular resonance take shape? When a playwright puts words down on paper and submits them to be produced, is there something already inherent in those words that form the shape of the meaning? Or is the true shape of that meaning created by a director, whose particular eye and concept elevate the words from the page to the proscenium? This is not, it turns out, just an esoteric conversation. As we move into an age … [Read more...]
Last fall, I was walking with a friend on the expansive brilliantly white patio outside the Kennedy Center in Washington, DC. It was a hot day, and when my friend needed to take a call, I snuck out of the sun to stand under the large flat roof of the building in the shade, next to the cool marble walls. The building is huge, a true monolith, and as I was looking up at the architecture, one of the many quotes they have engraved on the Kennedy Center’s walls caught my eye: “This … [Read more...]
In my role at Theatre Bay Area, I commissioned Devon Smith of 24 Useable Hours (and now, of Threespot in Washington, DC) to conduct what she termed a Social Media Audit of the arts and cultural sector. In an effort to provide guidance to the field, Theatre Bay Area commissioned “The Tangled Web: Social Media in the Arts” in conjunction with a year-long intensive workshop series called Leveraging Social Media. This series, designed by noted social media expert Beth Kanter, provides Bay Area … [Read more...]
This past Saturday, I took a drive through a ferocious, and unseasonably late, rainstorm to the house of an eleven-year-old theatregoer named Sydni. I was interviewing Sydni and her mother, Sarah, as part of the research into the intrinsic impact of art that we are conducting/commissioning at Theatre Bay Area, in this case video interviews with a small group of everyday theatre patrons to understand why they go to theatre, why they value it, and what it means to them. We were … [Read more...]
What is actually neurologically involved in communication? What does it take for a speaker to convey something to a listener, and what does it take for that listen to both comprehend what's being said and remember it? In a paper published in August 2010 in the scientific journal Proceedings of the National Academy of Science (PNAS) called (dryly) "Speaker-listener neural coupling underlikes successful communication," three researchers from Princeton University detail an experiment that … [Read more...]
This post originally appeared on the National Endowment for the Arts' Facebook page. The true value of art cannot be measured in economics alone. If that were the case, we’d be in trouble. It’s impressive that, per the new NEA research note Time and Money, the cultural industries contribute $70.9 billion to the U.S. annual GDP—but the total U.S. annual GDP is $14 trillion, which basically means the entire cultural sector contributes .51% of the entire GDP in any given year. On any given … [Read more...]
In March, arts advocate Arlene Goldbard spoke at the Association of Performing Arts Service Organizations conference in Austin. Goldbard believes we need to start using a more empowered (and less-numbers-based) vocabulary for arguing for the value of the arts. At one point she noted: “The best argument for arts education is that children today practice endlessly interacting with machines, developing a certain type of cognitive facility. But without the opportunity that arts education affords … [Read more...]
As an industry, the arts suffers from a value problem. This was thrown into sharp relief for me in an interview I had with an artistic leader from rural Wisconsin, who pointed out, “We’re all bean counters because the people we deal with, what they count is beans.” In almost everything we do to advocate for the arts, we place financial worth front and center, and in so doing we allow, even encourage, the people we’re trying to convince of art’s value to forget that that value is much … [Read more...]
I believe that art makes better humans, but that that can only happen when the line from art to audience is as taut, clean and consistent as possible. The interplay between artmakers and audience members is central to what we do and vital to the success of the enterprise. That crackle across the wire, that static in the air at a live event, is good. It makes your ears hum, your hair stand on end--it's what connects people in a room behind and in front of the fourth wall. As Tom … [Read More...]
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