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[vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”3″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”4″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ el_class=”showtime-blog” uncode_shortcode_id=”147922″][vc_column column_width_percent=”80″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_visibility=”yes” medium_width=”0″ mobile_visibility=”yes” mobile_width=”0″ width=”1\/6″ uncode_shortcode_id=”203710″][vc_column_text text_lead=”yes” uncode_shortcode_id=”151379″]Share[\/vc_column_text][vc_column_text uncode_shortcode_id=”130024″]

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Theatres<\/a><\/li><\/ul>[\/vc_column_text][vc_empty_space empty_h=”2″][vc_custom_heading auto_text=”yes” heading_semantic=”h1″ text_weight=”800″ uncode_shortcode_id=”871917″]This is a custom heading element.[\/vc_custom_heading][vc_column_text el_class=”sb-post-category” uncode_shortcode_id=”333574″][\/vc_column_text][vc_column_text uncode_shortcode_id=”159254″]\u201c<\/span>Coinvolgere nuovamente il pubblico e rigenerare la partecipazione attiva, in un modo che sia lo stesso pubblico ad aiutare a sostenere e far crescere una nuova \u201cofferta\u201d, questa \u00e8 la vera priorit\u00e0<\/span><\/i>\u201d.<\/span><\/p>\n
<\/p>\n
La pandemia ha posto l\u2019attenzione sull’importanza economica del settore culturale, in particolare quella dei festival, degli eventi dal vivo, dei musei, dei cinema o della vendita al dettaglio di servizi culturali, nel rendere i luoghi attraenti per chi li vive tutto l\u2019anno e per chi come i turisti li vive periodicamente.<\/span><\/p>\n
Quello che certamente \u00e8 mancato molto durante i periodi di chiusura imposti dalla pandemia sono state le esperienze culturali dal vivo, mancanza cui si \u00e8 cercato di sopperire attraverso lo streaming digitale che per\u00f2 si \u00e8 rivelato poco fecondo per le attivit\u00e0 di public relations e gli incontri culturali collettivi. <\/span>
\n<\/span>I servizi culturali svolgono un ruolo fondamentale nella costruzione del benessere delle comunit\u00e0 e della coesione sociale: la cultura non \u00e8 solo intrattenimento e svago ma <\/span>contribuisce in maniera incisiva alla costituzione di senso collettivo<\/b> grazie alla sua <\/span>accessibilit\u00e0<\/span>.<\/span><\/p>\n
Cosa si intende propriamente quando parliamo di accessibilit\u00e0 culturale?<\/span>
\n<\/span>
\n<\/span>Un museo, un teatro, un festival, per potersi definire accessibile deve essere prima di tutto un luogo <\/span>empatico, piacevole, accogliente<\/span><\/i>, capace di rimuovere le proprie barriere (non solo fisiche ma anche – e soprattutto -culturali ed economiche) non a crearne di nuove.<\/span><\/p>\n
<\/p>\n
Questo concetto \u00e8 fondamentale per poter osservare quanto, paradossalmente con l\u2019imposizione di nuove barriere fisiche (spazio di distanziamento, controlli agli accessi) il momento storico del post pandemia, con la fiorente attivit\u00e0 digitale del settore culturale registrata durante i due lockdown,\u00a0 rappresenti in realt\u00e0 un\u2019occasione per abbattere quelle che sono da sempre le barriere di accesso alle attivit\u00e0 culturali.<\/span>
\n<\/span>
\n<\/span>A tal proposito, i dati delle statistiche di Eurostat<\/span> mettono in chiaro quanta <\/span>correlazione esiste tra partecipazione culturale e reddito<\/span>, con l’82,5% della popolazione dell’UE-28 (di et\u00e0 pari o superiore a 16 anni) nella fascia di reddito pi\u00f9 alta tra coloro che prendono parte ad attivit\u00e0 culturali, rispetto al 43,6% nella fascia di reddito pi\u00f9 bassa. Il secondo motivo pi\u00f9 citato come causa per non aver partecipato alle attivit\u00e0 culturali sono state le difficolt\u00e0 finanziarie. <\/span>
\n<\/span>La partecipazione culturale \u00e8 anche correlata al livello di istruzione: l’86,2% della popolazione con livello di istruzione terziaria dichiara di aver preso parte ad un’attivit\u00e0 culturale negli ultimi 12 mesi, rispetto al 42,4% tra le persone con un livello di istruzione secondaria di primo grado o inferiore.<\/span><\/p>\n
$\"\"$ <\/span><\/p>\n
$\"\"$ <\/span><\/p>\n
<\/p>\n
Oggi, con l\u2019obiettivo di creare condizioni favorevoli per la soppressione definitiva di diseguaglianze, si rivela fondamentale – e possibile – dover includere <\/span>la cultura nelle politiche sociali ed educative<\/b> affinch\u00e9 gli operatori e le istituzioni culturali siano messi nella condizione di coinvolgere la comunit\u00e0 verso un dialogo interculturale: l<\/span>a generazione futura vive nel mondo virtuale, un mondo che rende tutto accessibile e che non richiede le interazioni tradizionali;<\/span> l’accesso alla cultura \u00e8 il regno dei motori di ricerca, dei server digitali e dei social media tanto quanto delle istituzioni culturali. La capacit\u00e0 di concentrazione \u00e8 diversa. Richiede immagini e pedagogie veloci per apprendere o sperimentare rapidamente. Il COVID-19 sta accelerando una mutazione dello stile di vita che \u00e8 familiare alle giovani generazioni. \u00c8 pi\u00f9 individualista, incentrato sulla vita privata, con comunit\u00e0 di pi\u00f9 piccole dimensioni che fanno affidamento sulle reti digitali e virtuali.\u00a0\u00a0<\/span><\/p>\n
Inutile negare che la cultura intesa come segno di conoscenza \u00e8 sempre pi\u00f9 considerata appannaggio di vecchio elitarismo che pu\u00f2 essere disprezzato e persino denigrato. <\/span>La nuova generazione urbana appartiene sempre meno a una data religione, a un territorio, a una cultura: la sua cultura \u00e8 sempre pi\u00f9 il pianeta: la lingua \u00e8 cambiata, con una nuova funzione pi\u00f9 visiva, pi\u00f9 inglese, pi\u00f9 urbana con nuovi strumenti per interagire socialmente attraverso le frontiere.<\/span><\/i><\/p>\n
Tutto questa rappresenta una minaccia per le istituzioni culturali consolidate incapaci di adattarsi ai nuovi modelli sociologici. La pandemia influenzer\u00e0 i comportamenti collettivi e le culture nella stessa misura in cui l\u2019ha fatto l\u2019invenzione della scrittura o della stampa all\u2019epoca. Diventa quindi importante per le istituzioni culturali, riflettere e adattarsi a questi cambiamenti sociali e alle politiche culturali per continuare ad affermare il loro ruolo di costruttore del senso collettivo e contribuire all’empowerment sociale.\u00a0<\/span><\/p>\n
<\/p>\n
Che tipo di offerta culturale si aspettano quindi gli italiani a seguito del post pandemia?<\/span><\/p>\n
La ricerca condotta da Nomisma<\/span> nel mese di giugno 2021 focalizza i suoi dati sulle aspettative degli italiani in merito alla fruizione di contenuti audiovisivi e culturali (musica, teatro e cinema) nel post Covid.\u00a0<\/span><\/p>\n
Nel 2020 il numero di spettacoli teatrali, cinematografici e concertistici dal vivo hanno subito una diminuzione del 69% rispetto al 2019, mentre la spesa del pubblico si \u00e8 ridotta del -78,8% in confronto all\u2019anno precedente.<\/span><\/p>\n
Questo non ha per\u00f2 frenato la fruizione di prodotti culturali da parte degli italiani che hanno sperimentato <\/span>nuove modalit\u00e0<\/span> per assistere a spettacoli e concerti. In particolare, \u00e8 stato rilevato che dall\u2019inizio della pandemia il 33% ha seguito dirette social in cui musicisti e cantanti famosi si esibivano dalle proprie abitazioni, il 13% ha visitato virtualmente mostre, musei, aree archeologiche, il 6% ha visto spettacoli teatrali in streaming e il 4% ha assistito a concerti virtuali, direttamente dal proprio pc, pagando un biglietto.<\/span>
\n<\/span>Le mura domestiche sono diventate un vero e proprio luogo di intrattenimento: il 36% degli italiani ha infatti incrementato la fruizione di film e di serie tv a pagamento e il 61% ha visto pi\u00f9 spesso (o ha iniziato a farlo) film e serie tv su piattaforme online. Il 55% delle persone, inoltre, ha dichiarato di aver dedicato pi\u00f9 tempo alla visione di programmi e film in televisione rispetto al 2019.<\/span><\/p>\n
L\u2019allentamento delle restrizioni, d\u2019altra parte, fa crescere negli italiani la voglia di assistere di nuovo agli eventi dal vivo: il 40% si dice pronto a tornare al cinema, 1 italiano su 3 a visitare un museo, il 30% \u00e8 impaziente di assistere a un concerto live e 1 italiano su 6 ha intenzione di partecipare a uno <\/span>spettacolo teatrale<\/b>.<\/span><\/p>\n
$\"\"$ <\/span><\/p>\n
La survey Nomisma ha indagato quale sia l\u2019offerta culturale ideale per gli italiani nel post-Covid e ha rilevato che il 36% desidera una proposta con una vasta quantit\u00e0 di contenuti e vicina ai propri gusti e interessi (fattore, quest\u2019ultimo, citato dal 18% degli italiani).\u00a0<\/span><\/p>\n
Molto importante risulta la facilit\u00e0 di fruizione<\/b>: il 24% mette al primo posto la possibilit\u00e0 di accedervi in ogni momento della giornata e il 14% da ogni luogo. Per il 7% degli italiani, inoltre, i contenuti dovrebbero essere brevi e veloci.<\/span><\/p>\n
$\"\"$ <\/span><\/p>\n
<\/p>\n
Che ruolo ha in tutto questo il digitale? In che misura \u00e8 importante per le persone? La ricerca evidenzia che <\/span>gli italiani considerano la tecnologia come uno strumento per facilitare l\u2019accesso alla fruizione dei contenuti culturali<\/b>, <\/span>non come un elemento sostitutivo degli spettacoli dal vivo.<\/b> Tra gli aspetti tecnologici pi\u00f9 importanti vengono citati l\u2019opportunit\u00e0 di ricevere il biglietto direttamente sullo smartphone (segnalata da 7 italiani su 10), di acquistare online i biglietti (importante o molto importante per il 69%) e di prenotare le attivit\u00e0 online (rilevante per il 65%).<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ desktop_visibility=”yes” uncode_shortcode_id=”181590″][vc_column width=”1\/1″][vc_column_text text_lead=”yes” uncode_shortcode_id=”151379″]Share[\/vc_column_text][vc_column_text uncode_shortcode_id=”130024″]
\r\n\t\t\t\t <\/span><\/a>\r\n\t\t\t\t <\/span><\/a>\r\n\t\t\t\t <\/span><\/a>\r\n\t\t\t\t <\/span><\/a>\r\n\t\t\t\t <\/span><\/a>\r\n\t\t\t\t<\/div><\/div>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"
What is properly meant when we talk about cultural accessibility?
\nA museum, a theater, a festival, in order to call itself accessible must first of all be an empathetic, pleasant, welcoming<\/i> place, capable of removing its own barriers (not only physical but also-and especially-cultural and economic) not to create new ones.<\/p>\n","protected":false},"author":1,"featured_media":83161,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"content-type":"","footnotes":""},"categories":[111],"tags":[121],"class_list":["post-83578","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatres-posts-en","tag-showtime-en"],"yoast_head":"\nFourth wall and digital windows: dialoguing with new cultural audiences • Showtime!<\/title>\n<meta name=\"description\" content=\"What is properly meant when we talk about cultural accessibility? 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