This thesis is based on an action research of ¡§2006 Performing Arts Marketing Platform¡¨ in Taichung City. Combining theories with practical work to analyze the performing arts marketing channels of Taichung, the researcher tried to improve the administration skills and to exam the possibilities of accomplish the project. Within nearly 10 months of project execution, the researcher served as the project manager and helped 20 performing groups to promote their productions in Taichung City. The data were collected by using shorthand notes, self-examination, responses from performing groups, evaluation forms, interviews, working journals, proceedings of meetings, etc. The results showed that the Performing Arts Marketing Platform of Taichung City was truly practicable. It not only increased the box office of performing companies, but also received positive responses from National Culture and Art Foundation and the performing companies. The researcher comprehended how the platform operated, and what are the effective marketing channels to promote performing arts in Taichung through the work. Two suggestions were raised from this study: It is important to take care every detail and use creative mind to develop a marketing strategy. In order to maximize marketing effect, the executor should fix the strategy according to the environment changes, and adopt governmental resources efficiently. Furthermore, the government should support the project continually, extend the outcomes and minimize the ¡§gap¡¨ between two projects. We should all face the difficult positions of arts administrators and diminish the insufficient manpower. Frankly, the spirit of this project is to create a platform for people to share their resources.

The biggest problem facing the groups of performing and visual arts is that the revenue and expenditure are unbalanced for a long time. Most of the art groups must raise money from enterprises or seek governmental subsidies. However, limited subsidies make it difficult for the art groups to manage their operations. A fundamental way is to set up foundations and let the audience understand and be familiar with art through popularizing it. Furthermore, it is essential to expand the audience base and to keep a long-term relationship with the audience via application of a concept of marketing to art marketing. In marketing, the service quality of the marketers is significant because it can influence customers¡¦ satisfaction, trust and loyalty. With the support of the loyal audience, enterprises can survive and the art groups can have sustainable operations. In this piece of research, the research object is performing and visual arts. It considers how the variables of influence (namely, substantial service, professional knowledge, interactive strength, reciprocal disclosure, cooperative will and recovery of critical event) affect the relationship quality (satisfaction and trust) and customer loyalty. Based on the finding of the present study, we conclude the following points: 1. The service quality of the visual arts marketers is slightly more important than that of the performing arts. An analysis of the data on relative appreciation shows that the service industry for both performing and visual arts marketing is approximately the same. In terms of relationship quality and customer loyalty and with respect to satisfaction, trust and loyalty, visual arts is slightly important than the performing arts. 2. Performing arts: the variables of influence on relationship quality show an apparent positive correlation. Influential variables on satisfaction are ¡§recovery of critical event¡¨, ¡§interactive strength¡¨, and ¡§professional knowledge¡¨ in order; influential variables on trust are ¡§reciprocal disclosure¡¨, ¡§cooperative will¡¨, and ¡§professional knowledge¡¨ in order. Relationship quality and customer loyalty presents a positive correlation. As to ¡§satisfaction¡¨, there is noticeable influence on customer loyalty. Each variable presents a noticeable positive correlation to customer loyalty. ¡§Reciprocal disclosure¡¨ has apparent influence on customer loyalty whereas the others do not have. 3. Visual arts: the influence variables on relationship quality present an apparent positive correlation. The variables of influence on satisfaction are ¡§recovery of critical event¡¨, ¡§interactive strength¡¨, and ¡§substantial service¡¨ in order; the variables of influence on trust are ¡§reciprocal disclosure¡¨, ¡§cooperative will¡¨, and ¡§professional knowledge¡¨ in order. Relationship quality and customer loyalty presents a positive correlation. The relevant intensity of the visual arts is greater than that of the performing arts. ¡§Satisfaction¡¨ and ¡§trust¡¨ both have apparent influence on customer loyalty, and ¡§satisfaction¡¨ is greater than ¡§trust¡¨. Each variable presents a noticeable positive correlation with customer loyalty. ¡§Professional knowledge¡¨ and ¡§interactive strength¡¨ both have apparent influence on the customer loyalty whereas the others do not have. 4. There is a remarkable differentiation among the variables of influence on relationship quality and customer loyalty in the performing and visual arts. With respect to relational selling behavior, the most noticeable one between the performing and visual arts is that marketing of the performing arts focuses more on population or small group marketing whereas marketing of the visual arts focuses more on customized marketing as a result of high price of creation. There is a remarkable differentiation between the performing and visual arts pertaining to the influence variables on satisfaction. Moreover, apart from the variables on ¡§reciprocal disclosure¡¨ and ¡§cooperative will¡¨ showing a remarkable differentiation, the remaining variables of influence on trust show remarkable differentiation. Concerning performing and visual arts, relationship quality of customer loyalty has noticeable variability and the variables of influence on customer loyalty show a remarkable differentiation.

Thesis (M.F.A.)--York University, 2007. Graduate Programme in Theatre. / Typescript. Includes bibliographical references (leaves 34-35). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29313

In the mid-eighteenth century, Vienna, like other European cities, began to manifest the influence of modern French culture; In 1752, a troupe of French players was appointed to the Austrian court to entertain the aristocracy. Four years later, links were forged between the Parisian and Viennese stages via Favart who corresponded with Count Durazzo in Vienna and sent opera scores and suggestions about personnel. In 1765 problems with finance and leadership led to dismissal of Vienna's first French troupe but others performed there for shorter periods between 1765 and 1780. Opera-comique was introduced to Vienna by French players. Occasional performances of opera-comique in German translation took place in Vienna during the 1770s. When, in 1778, the Nationalsingspiel was founded, French opera formed part of the repertoire because of a lack of good German works. A renewed interest in opèra-comique began in about 1790 when fear of revolutionary France and the reigns of Leopold and Franz led to a return of interest in Italian opera at the court theatres, and the virtual disappearance of opêra-comique from its repertoire. Once an aristocratic entertainment, opera-comique now enjoyed popularity at the suburban theatres. Many recent and historically important French operas were performed in Vienna during the next thirty years, putting Italian opera temporarily out of fashion and having an important influence on the emergent German Romantic opera. After 1802 the Theater an der Wien and the court theatres engaged in serious competition. Over 120 French operas were performed in Vienna between 1790 and 1819. Printed French scores and textbooks were purchased from Paris; they were hastily translated by salaried members of the Viennese theatres. Before 1790 Viennese versions of operas-comiques had usually remained close to the originals. Later, in order to make them more appealing to Viennese audiences, the opera texts and music were often altered. Authentic performance was not a concern of the theatres. After 1803, following successful Viennese premieres of several great operas by Mehul and Cherubini, Vienna was flooded with operas by lesser men whose entertaining texts and tuneful music were good for the box office. The vogue for French opera caused some resentment among German musicians, though few contemporary German operas could match the popularity of the French ones. Opera-comique reminded a Viennese public nourished during the eighteenth century mostly on Italian opera, of the literary importance of opera. Viennese interest in op6ra-comique began to decline in 1816 with the rise to fame of Rossini. By 1820 Italian opera was back in fashion.

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published_or_final_version / Architecture / Master / Master of Architecture

<p> This thesis, presented in partial fulfillment of the requirement for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, analyzes the origins and limitations of the traditional subscription model used by performing arts organizations. As subscription sales continue a nationwide, decade-long decline, some companies are exploring nontraditional models, while in other industries new media is facilitating innovative alternative methods of monetization. These new models are successful when they customize offerings and increase value provided to patrons, who increasingly desire flexibility and dialogue. Based on a SWOT analysis and Quantitative Strategic Planning Matrix, these alternative patronage models are evaluated with respect to their viability for implementation by California Repertory Company (Cal Rep).</p>

<p>This researcher had two purposes. The investigator's purpose in this action research was to develop a working prototype of a music teacher digital portfolio within the Moodle environment, which included artifacts, as they relate to New York State's Annual Performance Review (APPR) legislation. The regulation on teacher evaluation is New York State Code &sect;3012-c. In order to develop the prototype, a first step involved working collaboratively with a panel of instructional leaders in music education to determine what a music teacher digital portfolio template should contain as per this new APPR Legislation. To achieve this goal in an open source course management system, Moodle was used to collaborate digitally with music education leaders from New York State. This researcher did not seek to establish rubrics for assessment. At the same time, however, by presenting artifacts as they relate to the APPR legislation, &sect;3012-c, the investigator presented prototypical evidence of quality teacher performance in student growth and student achievement, and these data entries may be used as a point of reference by supervisors who evaluate professional music educators. The report of this study took two forms: there is a report of the collaborative efforts that constitute action research and there is the presentation of the portfolio prototype. </p><p> The subjects were 12 instructional leaders in music education from Long Island, New York. Upon completion of the action research, the subjects completed a questionnaire designed to measure their perceptions of the action research study method of instruction and the use of a course management system (Moodle) as a tool for the construction of digital portfolios. </p><p> The results of the questionnaire showed that both purposes were achieved. Furthermore, a consensus was developed that the use of action research study is a valuable method of learning and a course management system, Moodle, is an effective and useful administrative tool for school administrators. </p>

Nikolaïs a prolongé la pensée de Laban et l'a enrichie en l'expérimentant sur les corps-mêmes des danseurs de sa compagnie. son approche s'est développée dans un va-et-vient constant entre les 'principles' et l'expérience sensible du corps dansant. les éléments de langage chorégraphique (qualités de 'motion', 'shape'...) et les outils pédagogiques de nikolaïs (décentrement, 'gestalt' ou totalité reconnaissable, triade technique-improvisation-composition...) se sont élaborés sans être soumis à un savoir théorique extérieur. Cet enseignement consiste à munir le corps et l'esprit d'un savoir et d'une conscience immédiate des facteurs entrant en jeu dans le mouvement dansé. L'étude tendra à affirmer que là où il y a pédagogie, il y a théorie. la 'theory' est chez Nikolaïs un moment d'investigation à travers l'improvisation où concept, chorégraphie et performances sont instantanés. l'improvisation, un des éléments-clés de la modernité en danse, semble donc représenter le processus privilégié où pratique et théorie se confondent ou se vérifient l'une l'autre. Par ailleurs, sera aussi questionnée la prétendue "universalité" des outils et éléments de syntaxe de Nikolaïs, par l'analyse du contexte particulier des années 1950 (historique, socio-politique, artistique et technologique) et l'idéologie très liée à la personnalité de son créateur et à l'engouement qu'il a suscité. On se propose donc de déconstruire le modèle en empruntant une troisième voie au-delà de l'héritage fidèlement entretenu ou rejeté pour tenter, en contrant la présence diffuse de cet enseignement en France, une réhabilitation et une analyse qui questionneront la pertinence et les enjeux de cette pensée aujourd'hui.