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The Society of London Theatre and the Theatrical Management Association are seeking a new joint Chief Executive. They have appointed executive search firm Odgers to assist in the appointment process.

The current Chief Executive, Richard Pulford, has announced his intention to retire from the role around the end of the year. He was appointed in 2001 in succession to Rupert Rhymes. Richard will continue to work as an arts consultant on selected projects.
The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1995. Regional Spaces, National Stages: Performance beyond London 1945-2010. This symposium at the University of Reading at 17th Sept 2010 will analyse the role of performance outside London in Britain's theatrical ecology.

Theatre Management: Producing and Managing the Performing Arts delivers a broad, comprehensive, wide-angle view of theatre and performing arts management, based on the premise that all of the performing arts share the same core issues: producing or presenting artistically satisfying works in accord with their missions, finding and keeping an audience, providing for the financial and creative well-being of an organization or production, and maintaining good personnel and public relations.
Sunday 6 Friday 11 September 2009
Carberry Tower, Edinburgh, Scotland
The Theatrical Management Association (TMA) has released details for this years Effective Management walking the tightrope course, its hugely successful course for those wishing to develop their leadership and management skills.
Since 1993 the TMAs Effective Management course has offered over 250 new and established managers the opportunity to assess the very best arts management and leadership training specifically designed for those working in the performing arts. In just five days participants learn everything from: leadership skills; managing yourself and others; decision making; problem solving; team working; handling change; and influencing where you have no formal authority.
Author: S. Poisson-de Haro

The long-awaited reopening of Barcelonas Gran Teatre del Liceu took place on 7 October 1999, five years after it had been destroyed by fire for the second time in its history. This tragic event presented an opportunity to build a new opera house in the best tradition of the old one from an architectural and acoustical point of view and using best practices from a management point of view.
Oklahoma City University hosts probably the only graduate education, which combines dance and arts management. Dirk Heinze made an interview with the director of this course, John Bedford, not only with questions about the course itself, but also about the latest trends in the dance sector.

Founded in 1996, RESEO is an umbrella organisation for those working in opera education. RESEO is once again planning a major weekend celebration of opera early this year.
The 2007 TCG National Conference, Artistry in a New Century, hosted by the Twin Cities theatre community, was held in the new Guthrie Theater facilities from June 7-9, 2007 with a pre-conference day at Penumbra Theatre on June 6th. A new world, a new country, a new audience, new art - the 2007 TCG National Conference turned its attention to creating theatre for today and tomorrow with Artistry in a New Century.

For years, Theatre Communication Group (TCG) has heard from artistic and management leaders and senior staff that there is an increasingly urgent need in the field for human resources training and professional development opportunities for managers and artists who manage personnel. In response to this need, TCG partnered with Target Corporation in 1998 to create this dynamic program.
Theatre figures have endorsed the first Performing Arts Technical Training Handbook, published by Entertainment Technology Press working in conjunction with the Association of British Theatre Technicians.
We know that an event is not theatrical unless an audience is there to witness it. Indeed, the audience itself transforms what might otherwise be a moment of reality into an artistic event. We also know that a theatrical production, however small, will not happen unless there is funding to support it. Whether it is a community production in someones backyard, or a full-scale musical on a Broadway stage, funding support is always a necessity.

The performing arts in all countries in Europe are supported by their governments. But than all resemblance ends. Scope, depth, nature and mass of state support differ widely from one country to another. States, provinces, regions and municipalities all have different expectations, roles and schemes in their financial support of the performing arts. The Dutch Association of Theatres and Concert Halls (VSCD) in cooperation with the Boekman Foundation and Pearle* organizes an international conference at June 7th 2007 in Utrecht (Netherlands) on best practices in government support of the performing arts.
Washington, D.C. Advocacy, networking, research, professional development and information distribution. For 25 years, Dance/USA, the national service organization for professional dance, has been dedicated to supporting and advancing the art form of professional dance across the country. Through research projects like community censuses and The Nutcracker Survey; national gatherings across the country such as the Roundtables and Council Meetings; leadership initiatives and professional training; and informative publications like the Dance/USA Journal, Dance/USA has played a pivotal role in advancing dance in America.
The aim was, at an explorative level, to produce knowledge about and understanding of the buying behaviour of theatre distribution agents. A case study consisting of six cases was conducted. The data collection was based mainly on interviews. Findings indicated the need for an extra function in the buying centre: a confirmer. The buying process seemed more informal than the theory indicates. The programme decision did not concern a provider of a product; it was more a choice between different plays. The provider was more to be regarded as a selection criterion. There was a sort of calculation whereby the expected loss was related to the value of the performance.
Theatre Management: Producing and Managing the Performing Arts by David M. Conte and Stephen Langley, has just been released. The new book is written from the point of view that all of the performing arts share the same core issues and that skills learned in o≠ne performing art are both applicable and easily transferable to another...
Contacting the World (CTW) is a bi-annual theatre project on a global scale. It aims to build communication and develop understanding between young people from a diverse range of cultures and backgrounds. It is also strives to push understanding of what theatre is and can be, internationally. Since 2002, theatre companies have participated from India, Sri Lanka, Nigeria, Pakistan, Bangladesh, Syria, Jordan, Trinidad, and Malaysia and in the UK, London, Manchester, Newcastle, Oldham, Cardiff, Bolton, Cumbernauld, Bradford / Leeds.
Sun-Shier Dance Theatre is founded by two women, Pi-Jung Wu and Hsiu-Ping Chang, considered the most promising young dance company in Taiwan, in 1997. Reflecting the age of its founders, Sun-Shier means thirty in Chinese and lives up to what Confucius said: At age of thirty, I stood firm.

Pi-Jung Wu and Hsiu-Ping Chang, Sun-Shier Dance Theatre
This issue is all about "Dance".
2006-11-24 spoke with Leigh Small, Executive Director of Sydney Dance Company about her experiences developing a new work in mainland China. How does Western begin to collaborate with the Eastern markets? This report not only presents the difficulties, but also emphasizes successful elements as an example for those who want to make profits with China.
Arts Management Network led an interview with Janet Archer about Dance Management today. Janet is both the Artistic Director and the CEO of Dance City, which is the National Dance Agency for the North East of England.