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 o­ne 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.

This issue is all about "Dance".

Fuel4Arts.com 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.

The book "Managing Dance" focuses on four themes - dance artists, products, participation and the political context - each of which is explored from different perspectives by contributors currently working dance management.

Dance is a very dynamic part of Australian performing arts culture. It can provide a rich performance experience, merging the imagination and skill of choreographers, dancers, designers, composers and musicians.

Finnish Contemporary Dance has started to make significant international successes around the world in the late 1990s and in the beginning of the 2000. To verify that, we can take a number from the statistics collected by the Finnish Dance Information Centre. In 2003, 26 dance companies performed abroad in approximately 30 different countries.

The history of dance has always been a history of loss. Most of dance produced is lost to us for good -- the result of the lack of funding for preservation, the ephemeral characteristic of dance performance, and the lack of a widely-applied documentation system. Documentation systems do exist, and the prominent one is called Labanotation. Labanotation scores, which are the most precise means of documenting a dance, function for dance the same way music scores function for music. But Labanotation has not yet widely applied, because, unlike music scores, it is not essential for dance creation/performance, and there is a general lack of education about it.

This brief article, which is written by Ms Katherine Giles, gives readers definitions of who owns the copyright and what rights the copyright owner have in dance field, especially in Australia.

IDEA 2007 - The Sixth World Congress of International Drama/ Theatre & Education Association

If we take the usual symbol of A as marking an excellent performance (we know it's exam-driven, but very local!) and sharp creativity, and the O as the peaceful circle in ancient human rituals, the theme in this sixth IDEA Congress is literally and symbolically expressed through its titles: We need to cultivate the human mind, heart and soul in everyone of us, not only be infused with professional knowledge and innovative artistry in different specialized contexts, but also woven by visionary, communicative and culturally empathetic eyes, ears and skin.

Kazimierz Micha? Ujazdowski, the Minister of Culture and National Heritage, is responsible for the national cultural policy. He spoke with WBJ about the Ministry's vision of financing institutional and independent theaters in Poland.

hosted by the Danny Grossman Dance Company
Thursday 19 January-Friday 20 January 2006
Metro Hall 55 John St. Toronto

Endangered Dance: A National Dance Heritage Forum is a call for action, bringing attention to the critical and urgent need to protect Canadas diminishing dance heritage. This is a national forum o­n dance preservation and legacy issues in Canada.

JOINT ADVENTURES is dedicated to contemporary dance an example of support for an ambitious art form

Katy Raines, Director of DixonRaines, explains how keeping a few more customers each year could dramatically increase ticket and fundrasing income.

FUNDACIÓ GRAN TEATRE DEL LICEU BARCELONA is seeking a Production Director

Nationwide, a seismic shift in ticket buying trends is underway. The subscriber, the member, and the seasonticket holder are not renewing."
In this report, author Amy Kaissar explores the issues surrounding the decline in theatre subscription renewals. Each week we will highlight a new section of this important and engaging work