Creative UK Devon’s Post

Codeforces Problem A. Theatre Square Problem Link: https://lnkd.in/gaaEyj-N Solution Code: ll n, m, a; cin >> n >> m >> a;   ll ans = ((n + a - 1) / a) * ((m + a - 1) / a); cout << ans << endl;

Looking for ways to improve inclusivity and accessibility in your venue in 2025? BFI FAN's Inclusive Cinema has brand new resources available on a variety of subjects, including programming in challenging times, discussing grief on screen, and providing audio description in non-theatrical cinema spaces. Inclusive Cinema is Film Audience Network (FAN)’s UK-wide project to support exhibitors in welcoming everyone to participate in cinema, by countering cultural, systemic or physical barriers. Access the brand new resources here: https://buff.ly/40cADzc

🎭 Putting the Community Center Stage: Discover How The Naples Players Became One of the Best Theatres in the Country! 🌟 Click the link in our bio to read more. - - - #weisbergwealthmanagement #naplesflorida #naplesplayers #5thavenuesouth #wealthmanagement

I was encouraged to hear the Scottish Government budget announcement yesterday outlining plans to increase culture funding by 34million in 2025/26, after so many years of stagnating or reduced funding. This week we also announced the programme for Manipulate Festival in 2025 and I could not be prouder of all the artists, companies and partners we're collaborating with to bring you this brilliant festival edition. There's a feast of delights to get your teeth into and so please do check out the programme. I do think though, that it's really important to acknowledge that our festival programme for 2025 is about a quarter of the size of the 2024 programme (although interestingly for just over half the usual cost, because festival overheads are significant). This is because, after 12 years of standstill core funding, a real-terms 40% cut, we just can't afford to put on an international festival every year. Great arts and culture doesn't happen without effective resourcing. This is even more true if we want to do things properly, ensuring that wellbeing, fair pay, sustainable thinking and great access provision are at the heart of our work. In response to the ongoing Scottish arts funding crisis this year, which has hit the freelance creative workforce the hardest, we have responded by taking money allocated for international flights and freight at our festival and re-investing it into the Scottish creative community. We'll be paying for research and development into new creative projects for artists at a critical juncture in their practice, and then bringing them together with audiences in open studio sessions, to make transparent what it really takes to develop a creative work for the stage. It's a tough decision as a festival director to say no to some of the incredible and boundary-pushing international work I've seen on stages around the world, which undoubtedly would thrill and delight audiences. But I believe that we're in danger of losing so many brilliant freelance creatives from the Scottish sector and the truth is that our work makes absolutely no sense without them. Our festivals are often spoken about solely in terms of their economic, tourism and international exchange benefits, but to truly thrive they must also be fuelled by grassroots creativity which is created, trained and developed in Scotland, and offer a vital platform for Scottish work on the international stage. We will be grappling with these ideas through discussions at the festival in February, exploring what truly sustainable Scottish festivals which properly serve their artistic and geographic communities could look like with proper resourcing. We'll also have two world premieres of fantastic new Scottish work, over 30 animated films, three shortform performance evenings of innovative new work and a whole host of other workshops, screenings and events to explore. I really hope to see you there.

KWP #TrendWatch - Latest #StingerReport #1203 In this coverage, the impact of M&A conditions is felt across the 4D #attraction scene, as well as the impacts on the movie theatre sector – highlighted by the big #CinemaCon’24 – while we see the closure of a number of flagship #LBE venues under challenging conditions. https://lnkd.in/dskztAeV

Thoughts on Commercial Theatre: The heart of commercial theatre beats with the pulse of community investment. If we want to see Broadway—and the arts as a whole—thrive, we must rethink our investor model. Imagine systems that lower the investment threshold to welcome more voices and visions. #Broadway #BroadwayComments #InvestmentInTheArts #CommunityDrivenTheatre #ArtAsInvestment

Are less elaborate shows and fewer productions/exhibitions the new normal? • "Summer theater: Trying to make more out of less”: It’s been five years since audiences for summer theater have had as much available to them as they do this season, but an overview of the schedules for six companies in the Capital Region and Berkshires shows an overall trend toward fewer productions and smaller casts. https://lnkd.in/eTuFXm_h • “Live Performance Theatre Industry Analysis, Trends and Forecast”: Shows with elaborate productions have been shown to be less and less profitable for producers. Consumer preferences have favored shows with simple sets and powerful stories instead of over-the-top, costly shows, leaving many expensive productions unable to recoup. https://lnkd.in/eUVPqz9R • “Welcome to the slow museum, where less is more”: While the Covid-19 pandemic sparked a culture-wide reckoning with the frantic pace of contemporary life, some museums began to pull their foot off the gas even before the world went into lockdown. https://lnkd.in/enqgV3SV #SweibelArts #Trendwatching #LessIsMore

As an African Cinema lecturer, i have been teaching and promoting about "Alternative Cinema" for a couple of years for so many reasons. I do believe Ethiopian cinema could benefit a lot if it have a chance too see out of the dominant statues quo. Alternative cinema gives us an option that could provide an alternative to commercial media or to conventional topics and forms, dealing with subjects, points-of-view and formal elements not found in the dominant mainstream states quo. Here, we are building an alternative for Ethiopian Cinema. #BRICS+Cinema! #BRICS+FilmFestival

In 1930, the U.S. had more than 22,000 movie theaters, with 75% being independently owned. Today, that number has dropped to 5,800, with nearly 75% now corporately owned. I recently wrote about a independent theater I like in Palo Alto that is at risk of being demolished for mixed-use development. I believe a more effective approach would be to invest in these community anchors and third spaces that foster social cohesion and provide affordable date night options, enhancing the movie-going experience without resorting to additional mixed-use complexes. We can revitalize the area while preserving the theater's original purpose, ultimately uplifting the community far more than these mixed-use developments have proven capable of achieving. https://lnkd.in/g4sqPV9v

Did You Know? Before its transformation into the Empire Arts Center, it was first called the New Grand. The New Grand stood as the first theatre in Grand Forks designed specifically for showing motion pictures. Currently, the Empire is the city's last surviving downtown movie house! For more information about the Empire Arts Center and our history, visit the link in our bio #gfiscooler #grandforks #greatergrandforks