Thursday, 13 August 2015
Rather than fulfilling an obligation, the bold programming at the Edinburgh Fringe pushes great art by disabled artists to the forefront – and this is to the benefit of us all, says Jade French.
Nina Siegal explains how the photo-sharing social media platform Instagram is slowly becoming a key tool in the visual arts sector.
Wednesday, 12 August 2015
The four Labour leadership contenders – Liz Kendall, Andy Burnham, Yvette Cooper and Jeremy Corbyn – tell BECTU about their positions on the creative industries.
If theatre is so keen to diversify its audience, it should take a leaf out of the fringe’s book and stop punishing punters that don’t know ‘the rules’, says Lyn Gardner.
Tuesday, 11 August 2015
Although the Fringe prides itself on defying the norm, Stephen Greer explains that playing it safe is the best way to avoid losing out.
Eli Keel challenges the assumption that only ‘professional’ theatre is valuable, real or worthwhile, saying that the collaborative implications of ‘community’ theatre make it a much more rewarding label.
Monday, 10 August 2015
The aligning of the Edinburgh fringe and international festivals signals a greater shift – the break down of the division between high and low art, says Lyn Gardner.
While it is shocking that The Times chose to review a preview performance of Cumberbatch’s Hamlet, producers don't do themselves any favours by charging the same price for previews as post-opening performances, argues Mark Shenton.
How Los Angeles’ new Broad Museum has gone about making its storage area an accessible and exciting visitor attraction.
Thursday, 06 August 2015
David Cameron once believed in the holistic benefits of an arts education – in an era of EBaccs and funding cuts, his government would do well to remember that, says Christopher Bigsby.
Wednesday, 05 August 2015
David Stevenson asks Scotland to remember that subsidising specific arts events is not the same as delivering culture for all.
With the Met Opera finally responding to complaints about its use of blackface – by abandoning it – Alison Kinney examines the history of Black Americans and Opera.
Tuesday, 04 August 2015
Theatre makers wanting to be successful should consider the conundrum: if only 8% of the population regularly attend the theatre, what are the other 92% interested in, asks Gavin Stride.
Crowdfunding is fun, innovative, and encourages donations and emotional investment from people who may never see its finished products. Jenny Kidd advises museums in the UK to engage with it.
Professor / art adviser Magnus Resch’s recently released book of business solutions for art galleries goes a long way in explaining why so many of them are failing, says James Tarmy.
Friday, 31 July 2015
British politicians wouldn’t be seen dead at the opera – but they need to embrace the arts if they want to stop seeming distanced and removed, says Martin Kettle.
Eli Van Sickel is troubled by those who see able-bodied actors playing disabled characters convincingly as beacons of acting talent.
Thursday, 30 July 2015
If we continue to expect orchestras to survive indefinitely, they’ll have to play the funding game and move into the mainstream, says Peter Phillips.
Mark Lawson compares the set design of a number of high-profile theatre shows in the UK, finding that the boards of the British stage are dissolving under a wave of innovation.
Tanya Meyers talks to Rachel Ward about the challenges of turning 60,000 words of research into a compelling and accessible show about dementia.