This annual survey of a representative group of nonprofit theatres was known as the TCG fiscal survey in 1974, 1975, 1976; the TCG survey in 1977, 1978, 1979, 1980; and as Theatre facts since 1981. Theatre Facts also appears as a supplement to American Theatre magazine, usually in the April issue.

According to the nationwide 1992 Survey of Public Participation in the Arts (SPPA) conducted by the U.S. Bureau of the Census, 41% of the American population attended at least one of seven arts activities (jazz, classical music, opera, musicals, plays, ballet or art museums). This 1992 participation rate means that approximately 76.2 million adults attended one or more arts performances or exhibitions during the previous year. The 1992 figure represents an increase of two percentage points above the 1982 overall attendance rate of 39%. Art museum and gallery attendance experenced the largest

ARTSTATS is a compendium of statistics on the arts and culture in Canada which evolved from an earlier publication entitled Selected Arts Research Statistics (SARS). The tables which make up this new volume are intended to provide readers with a wide range of quantitative evidence concerning culture in this country.

In the United Kingdom, the theatre industry is something of a closed book. This is a contrast to countries where state/public ownership and management make information a matter of fully open knowledge. It is also in contrast to the where the near-public sector is compelled to open its books widely and the private sector is proud to do so (even if the figures have been modified a little to justify that price). In Britain, by contrast, the access to factual information about theatre audience numbers, trends, and ticket prices is very restricted.

Most studies on assessment and participation in art neglect the process of art experience and judgment in favor of sociological categorization. Education is taken for artistic competence, values and human needs are reduced to interests. A valid conceptualization and a sophisticated theory of human behavior is needed to cope scientifically with the problem of art participation. In this contribution I will argue that social scientists have to turn to an integrated analysis of art participation in which the art experience is a key concept and in which artistic quality replaces social

Paper presented at the 19th annual conference on Social Theory, Politics and the Arts, Northeastern University, Boston, Massachusetts, September 30 - October 2, 1993. This report summarizes the findings of three research surveys commissioned by the Cleveland Orchestra and conducted with the assistance of the Case Western Reserve University Arts Management Program.

Paper presented at the conference Art Museums and the Price of Success; an International Comparison, held at the Rijksmuseum, Amsterdam, the Netherlands, on December 10 and 11, 1992, and organized by the Boekman Foundation, Amsterdam.

This completely new edition of Waiting in the Wings builds on the proven successful long-range audience development program created by consultants Morison and Dalgleish. Since the first edition was published, the unique Strategy to Encourage Lifelong Learning (SELL) has been tested by the authors and by arts organizations nationwide. The authors have refined their methods and provide numerous new case studies to illustrate how the system works. You'll learn how to educate your audience, combine subscription and marketing techniques, and create a truly contemporary marketing strategy.

This directory is a guide to theatre, dance, and music companies, individual artists, and performing arts centers in the five boroughs, and is intended to aid audiences in locating these very often hard-to-find groups. Public transportation directions are included where appropriate and a note about the kind of work presented is indicated. Included are many groups and individual artists who have no permanent space and perform at various places in the city.

This little book is packed with information and close reasoning. The author presents a model, named the Performing Arts Adoption Process (PAAP) adapted from other models in the social sciences, that describes six stages of audience interest and attendance at the performing arts.