Sunday, 1 November 2015

References


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Bradshaw, A., Kerrigan, F. and Holbrook, M.B., 2010. Challenging conventions in arts marketing. In: O’Reilly, D. and Kerrigan, F., eds. Marketing the arts: a fresh approach. Abingdon: Routledge. 5-17.

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Goldman, A., 2013.The Broad View of Aesthetic Experience. Journal of Aesthetic & Art Criticism [online], 71 (4), 323-333.

Hangman, G., 2005. Aethetic experience: beauty, creativity, and the search for the ideal. Amsterdam; New York: Rodopi.

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Holden, J., 2009. How we value arts and culture. Asia Pacific Journal of Arts & Cultural Management, 6 (2), 447- 456.

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Machon, J., 2013. Immersive Theatres: Intimacy and Immediacy in contemporary performance [online]. Palgrave Macmillan.

Mehmetoglu, M and Engen, M., 2011. Pine and Gilmore’s concept of experience economy and its Dimensions: An Empirical Examination in tourism. Journal of Quality Assurance in Hospitality & Tourism [online], 12 (4), 237-255.

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Pine, J and Gilmore, J., 1999. The Experience economy: work is theatre and every Business a stage. Boston, Mass : Harvard Business School Press.

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Skold, D., 2010. The Other Side of Enjoyment: Short-circuiting Marketing and Creativity in the Experience Economy. Organization [online], 17 (4), 363-378.

Smith, R., 2015. 451 Play Bournemouth Arts Festival. [photograph]. Bournemouth Arts Festival: Rose Smith.

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Walmsley, B. and Franks, A., 2011. The audience experience: changing roles and relationships. In: Walmsley, B., ed. Key issues in the arts and entertainment industry. Woodeaton: Goodfellow, 1-16.


White, G., 2012. On Immersive Theatre. Theatre Research International, 37 (3), 221-235.

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