Supplemental

Documents:

 

 

EVALUATION

 

IOWA SHAKESPEARE EXPERIENCE:

Overview of Evaluation plan:*

 

The ISE uses a robust evaluation plan, allowing us to utilize our asset of having a former professional national program evaluator on staff. 

 

We are in the data-gathering phase of our evaluation plan: 

 2009-2010 is being used to create a baseline metric to use in ongoing evaluations of the Festival.  

 

Until we can establish baseline data metrics, we are using the following basic evaluation plan to gather both formative data (nightly ongoing data for the purpose of improvement) 

and summative data (cumulative final outcome data which allows us to judge a final impact), 

all of which  ties our current goals to various current evaluation elements

*See attached Evaluation packet

 

 

 

ISE GOALS FOR THIS 

2010 PROJECT

 

(Mainstage show:

A Midsummer Night’s Dream Extravaganza)

 

WHY IMPORTANT?

 

WHY MEASURE THIS?

 

METHOD/FORM OF EVALUATION

 

 

 

IS THERE A

 Survey FORM?

 

PAGE # 

For FORM?

(See attached sample questions packet)

1.) Large attendance crowds (500+ per night)

Large crowds are important to measuring service to the community, to tourism elements of our mission, and to financially supporting the festival by  drawing 2011 Corporate Sponsors and generating concession/merchandising income),

Summative:

 

Gate Clicker Counts

 

Supplemented by:

Concession income Tally

Merchandising income Tally

No, however, Tourism Evaluated on both form, (Questions 4, 5 and/or 6)

 

 

Not applicable

2.) Attendance is diverse in age, ethnicity, income 

 

Diverse attendance is important to meeting ISE service mission, and to evaluating the quality and impact of our marketing effort.

Summative:

1.) Programs have short Tear Sheets collected at gate upon audience exit

2.)Programs inform audience they may go to website to fill out short Voluntary Demographic and Likert Scale survey at Gate  (in exchange for drawing for prizes)

3.) Stage announcements area also made, to invite audiences to provide feedback

 –SUPPLEMENTED BY-

Longer Focus Group 

and Likert Scales, randomly administered  post show in exchange for free food treats

 

YES

Page 2 

(Short form and demographics)

 

Page 4 

Focus Group form (same as website form)

3.)Mainstage show offers a quality theatre experience:

For Audiences

 

For Actors/Artists

 

 

Our Artistic goals for this project are to improve measures of audience impression of quality annually, and improve Likert measures of audience response to Shakespeare, in order to meet our Artist’s personal goals as well as to our ability to bringing crowds back and preserve the Shakespearean Cannon

Formative:

All surveys above

combined with attached Artist’s Artistic Quality survey;

            -ALSO -

Artists/Actors form receiving line at Gates at end of shows to thank attendees for coming; and to informally gather feedback in person; this feedback is shard at the end of the project

 

YES

 

Page 19-25

 

Additionally, all of the above evaluation data is supplemented by data pulled from the following (Google Analytics) social media sources (for 1 month prior to & 1 month following shows)

 

-Number of visitors to our website, 

-Number of people following us on Twitter and Facebook

-Number  and type of relevant comments left on our blog posts

 

 

THE IOWA SHAKESPEARE EXPERIENCE (ISE)

 

EVALUATION PACKET

 

ISE Evaluation Theory 

and 

Sample Forms

 

The Iowa Shakespeare Experience recognizes 

that the theory one uses for evaluation 

is as important as the data one collects.

The ISE uses the following information 

and evaluation theory to develop its evaluation approach:

 

 

 

 

Title: Festival evaluation: an exploration of seven UK arts festivals.

Authors: Williams, M., Bowdin, G. A. J.

Abstract by CABIAbstracts 

With the increasing demands of stakeholders and professional development in festival organization, evaluation is becoming recognized as a valuable management tool in demonstrating success and achievement of objectives. However, to date, literature in this area has tended to focus on impacts, satisfaction and on how and why to conduct evaluation, with limited research or published examples covering the approaches taken by individual organizations to evaluate. This paper explores festival evaluation practice by reviewing current literature and presenting the findings of an exploratory study into the approach taken for evaluation of the seven arts festivals in the United Kingdom. The results suggest that there is a relatively clear understanding of the principles of event evaluation and it forms an essential part of the event planning process. Evaluation is carried out at varying levels of advancement with a variety of methods used, though it is difficult to determine the effectiveness of the evaluations.

Title: Wine festivals and tourism: a longitudinal approach to festival evaluation. 

Author: Taylor, R.


Abstract by CABIAbstracts

This document presents a range of research approaches used to investigate visitor satisfaction and the service quality of a regional wine festival from data collected over a 5-year period. The trends highlight the need for continuous research being undertaken using a triangulated approach to better understand the nature of festivals and events. Not only is the information gained valuable from a festival and event planning, management and marketing perspective per se, it is also important in relation to the high repeat visitation levels at many regional festivals and events and the potential catalytic effect in relation to tourism.

 

 

 

IOWA SHAKESPEARE EXPERIENCE

Short Demographic 

and Likert Scale Form 

(To supplement Gate Clicker Counts, Attendees fill out a version of this form voluntarily on Program Tear Sheets 

– or at gates in exchange for a drawing for prizes)

 

 

2009 Shakesperience ™ Festival 

Feedback Form

Your opinion is important to the Festival!
Please tell us what you think using this convenient form. Thank you! 

 

 

1.With “1” being Good/Great, “2” being Average, and “3” being poor, please indicate how you rank your overall experience at the Festival:

1 2 3

 

 

Comments:

 

 

 

2.)  With “1” being Good/Great, “2” being Average, and “3” being poor, please indicate how you rank the quality of the theatre at the Festival:

1 2 3

 

 

Comments:

 

 

 

2.) How did you hear about Shakesperience Festival?
Newspaper
Radio
Television
Internet
Word-of-Mouth
Poster
Other    

2.   What are your reasons for attending the Festival?
Please rate your top three reasons. "1" being top priority, "2" second priority, "3" your third.

 

I enjoy Shakespeare

 

I want to learn more about Shakespeare

 

I enjoy Theatre

1 2 3

 

 

 

 

I enjoy the atmosphere- picnicking, being along the river, being under the stars

1 2 3

 

 

I enjoy the chance to spend time out with my family or friends

1 2 3

 

 

I like that participating in this kind of annual event in our community

1 2 3

 

 

The Festival is affordable

1 2 3

 

 

The ease of parking or generally, the convenience of the location

1 2 3

 

 

Other: _____________________________

1 2 3

 

 

 

3.   Please check what is most true for you (all that apply)

When I came to the Festival, I already liked Shakespeare
I was not sure I would like Shakespeare, but I liked what I saw
I was not sure I would like Shakespeare, and I didn’t like what I saw
I was not sure I would like Shakespeare, I liked what I saw, but would like to understand it more

 

4. How many shows do you generally see at the Festival?
Please check all that apply:
Thursday (date) only
Friday (date) only
Saturday (date) only
Sunday (date) only
At least two days
Every day of the Festival!

4.)  With “1” being Metro Des Moines, “2” being a 30- 90 minute drive, and “3” being more than a 90 minute drive, please indicate how far you came to attend the Festival:

 

1 2 3

 

 

 

5,)Did you patronize any businesses/cafes/shops/hotels as a direct result of coming to the Festival?  (For example, purchasing picnic supplies, shopping or window shopping expedition, patronizing cafes, restaurants, taverns or hotel/motels, Bed and Breakfasts, or Campgrounds?  Visiting galleries or museums?) 

 

If so, where were these businesses located?
Please check all that apply:
Nearby “Historic East Village” location (Same side of River as Festival)

Historic Court Avenue or other downtown location (other side of River from Festival)
In Historic Valley Junction 

Other location in the Des Moines Suburbs

  In or near a Des Moines area Mall
Stopped enroute outside of Des Moines while driving to Des Moines
Plan to stop enroute outside of Des Moines while driving home 

6.) Any other comments:

 

 

OPTIONAL INFORMATION:


The following information is optional, but would help us better understand our audiences:

 

7.) I would describe my ethnicity/race as (check all that apply): 

 

Caucasian / white

African American

Of Hispanic Origin / Latino

Asian 

Native American

English is not my primary language

Other

 

 

8.) My age:

Youth (under 10 years)

Pre-teen (11-12 years)

Teen (13-17 years)

Young Adult (18-21 years)

22-30

30-40

40-50

50-60

60-70

Over 70

 

9.) I would describe my income/standard of living as (check all that apply):

 

Middle class

Working class

Upper class

Well-to-do

Retired

Struggling

Hit by the current economy

Student

Artist/Educator/Services provider (Human services, health, public safety, etc.)

Government employee

Self Employed

Small business owner

Mid size business owner

Large business owner

Corporate employee

Corporate manager

Corporate leadership

Other 

 

 

 

 

IOWA SHAKESPEARE EXPERIENCE

Sample Facilitated Attendee Focus Group 

Discussion Points

and Sample Long Form Likert Scale

 

Also our on-line Voluntary Self-submission Form 

(solicited / accessed through our Website)

 

1. Was this your first time attending the Iowa Shakesperience Fest?

 

Was this your first time attending the Iowa Shakesperience Fest?   Yes

No

 

 

2.)Please check what is most true for you (all that apply)

 

For experienced Shakespeare fans:

When I came to the Festival, I already liked Shakespeare, and I liked what I saw

When I came to the Festival, I already liked Shakespeare, and I LOVED what I saw

 

When I came to the Festival, I already liked Shakespeare, but I don’t think I liked what I saw

 

For Shakespeare newcomers:
I was not sure I would like Shakespeare, but I liked what I saw
I was not sure I would like Shakespeare, and I didn’t like what I saw
I was not sure I would like Shakespeare, I liked what I saw, but would like to understand it more

 

 

I was not sure I would understand Shakespeare, but what I saw made me feel like I did understand it.

I was not sure I would understand Shakespeare, but what I saw made me feel I could understand it someday

II was not sure I would understand Shakespeare, and I didn’t really feel I understood much of what I saw today.  

 

 

 

3. In a few words or sentences, please tell us more about what motivated you to attend the 2009 Iowa Shakespeare Experience?

 

What motivated you to attend the 2009 Iowa Shakespeare Experience?

 

 

4. How did you hear about this year's festival? (check all that apply)

 

How did you hear about this year's festival? (check all that apply)   Newspaper

Newsletter announcement

Direct mail to my home or office

E-mail notice

Book Festival website

Another website

Radio or television

I picked up a bookmark and/or flyer.

Information was sent home from school or Library workshop.

Somebody talked to me about the festival.

I am a current Board member or employee of a sponsoring organization.

Other

For "Other," please specify:

 

5. About how far (one way) did you travel from your home to attend the festival?

 

About how far (one way) did you travel from your home to attend the festival?   Less than 50 miles

50-99 miles

100-250 miles

More than 250 miles

 

 

6.)Did you patronize any businesses/cafes/shops/hotels as a direct result of coming to the Festival?  (For example, purchasing picnic supplies, shopping or window shopping expedition, patronizing cafes, restaurants, taverns or hotel/motels, Bed and Breakfasts, campgrounds?  Visiting galleries or museums?) 

If so, where were they located?

Please check all that apply:
Nearby “Historic East Village” location (same side of River as Festival)

Historic Court Avenue or other downtown location (other side of River from Festival)
In Historic Valley Junction 

Other location in the Des Moines suburbs
In or near a Des Moines area Mall
Stopped enroute outside of Des Moines while driving to Des Moines
Plan to stop enroute outside of Des Moines while driving home  

 

7. Did you attend any festival activities for adults?

 

Did you attend any festival activities for adults?

 

Did you attend any festival activities for adults?   Yes

No

 

 

 

 

8. IF YOU ATTENDED FESTIVAL ACTIVITES FOR ADULTS:

For each of the following activities you attended, please rate how valuable the activity was for you. There will be opportunities later in the survey for comments.

 

 

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

DATES FOR EACH EVENT ARE DIFFERENT- 

 

EXACT DATES ARE INCLUDED ON FINAL SURVEY FORM

 



For each of the following activities you were involved in, please rate how valuable the activity was for you. There will be opportunities later in the survey for comments. 

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Pre-Festival Community Outreach:

 

Wandering Will in the East Vill!

 

Shakespeare Look-a-Like makes appearances at Shops in Historic East Village

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Pre-Festival Community Outreach:

Shakespeare on the Loose

(Shakespeare Look a Like and/or Actor appearances/dialogues  at other Festivals/Farmers Markets around the Metro)

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

PRE-FESTIVAL EVENT:

“Walking with Will”

Fundraising Walk at Grey’s Lake

 

Followed by:

Shake-on-the-Lake

Picnic Fundraiser

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

PRE-FESTIVAL EVENT

“Will of the People”

Fundraiser and awareness event at Peoples Bar and Grill

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

DIRECTORS OPENING NIGHT TALK:

by
Lorenzo Sandoval, MFA

 

 

 

Rollicking Repertory!
Artistic Director’s Pre-show 

Talk on the second weekend

 

by
Lorenzo Sandoval, MFA

" Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

FAMILY NIGHT with guest Buskers, Jugglers, Puppeteers

“Kids on Stage” Adventure

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Senior College Workshop:

 

Shakespeare Fun O One!

valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Senior College Picnic Party at Show

 

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Guest Dramaturg

(Opening Night of Second Weekend)

 

“Five Babes and a Bard! Shakespeare for a new Generation”

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Pre-show Tailgating Picnic Party:

 

“Midsummer Madness!”

Contests for Best of Categories:

(Gourmet Recipes, Best theme, Picnic Panache, Best Costumes, Most humorous Costumes, Best Renaissance Costumes

 

Special Guest Judges from Meredith Corporation and Boutique Dress Shops

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Pre-show “Chalk it up to Will”

Sidewalk chalk drawing contest in the Amphitheater; all entries Welcome

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Pre-show Sonnet Readings and “Bard Bites” by 

Community Guest Artists:

 

Former First Lady 

Billie Ray

State Representative:

AKO Abdul Samad

Register Columnist:

Reka Basu

Mayor:

Frank Cownie

 

 

Readings by Nebraska Book Award winners Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Pre-show 

Renaissance River Dance Demo:


“SHAKEs-ING your Booty”

 

Burgemask Selection – and the Dancing Bardettes!

 

Special Guest Chorographer

Karina Barone

 

Readings by various Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Pre-show Concert with Tina Haase Findlay and Brandon Findlay:

 

Featuring 

 

SCAT THAT, 

Kind Sir!

Ella’s Baudy Bard:

To Be Be Be Be Be Be 

 

plus

the original song:

 

Are You Shakesperienced?

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Post Show:

Night Owl open mic and Sonnet Slam 

“Bard Before Bed”

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Post Show:

Director’s 

“Talk Back to the Bard”:  Audience can pose questions or comments for Director and Cast

 

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

“Play Outside”

Young Professionals Association

Post-show 

Cast Party:

“Shakes it up Baby!”

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Shakespeare Society 

“Bard on the Banks”

Post-show

Riverside 

Wrap party

 

A benefit for 

FREE WILL!

"Nebraska Federal Writers Project: Remembering Writers from the 1930s" Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

 

 

 

 

9.) Did you attend any festival activities for teens or for children?

 

Did you attend any festival activities for children? Teens?  Yes

No

 

 

10.  IF YOU ATTENDED “MIDSUMMER DAY DREAMS” FESTIVAL ACTIVITES FOR CHILDREN OR TEEN ACTIVITES: For each of the following activities, please rate how valuable the activity was for you as a Teen, or for the Teens/child(ren) who came with you. There will be opportunities later in the survey for comments.

 

 

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

 

For each of the following Please rate how valuable the activity was for you or the child(ren) who came with you. There will be opportunities later in the survey for comments.  

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Bard Buddies

Ages 2-7

 

(with Boys and Girls Club)

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Will’s Wild and Wacky Warriors

Ages 8-11

 

(with Boys and Girls Clubs)

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

“Will you marry me Bill?”

 

And

 

“Renaissance

Rap”

 

Teen Time at Library Branches:

 

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

Teen Acting Workshop:

 

“Drama Queens and Kings”

 

And

 

“Hamming it up with Hamlet”

 

Highly valuable

Somewhat valuable

Not too valuable

Not at all valuable

No opinion

Did not attend

 

 

 

 

11. Please rate each of the following festival venues.

 

 

Excellent

Good

Average

Poor

No opinion

Did not attend

 

Please rate each of the following festival venues. Excellent

Good

Average

Poor

No opinion

Did not attend

“Virtual Venue”: KFMG Radio

Excellent

Good

Average

Poor

No opinion

Did not attend

Latino Heritage Museum

Excellent

Good

Average

Poor

No opinion

Did not attend

Des Moines Public Library

(Central)

Excellent

Good

Average

Poor

No opinion

Did not attend

Des Moines Public Library (Branch)

Excellent

Good

Average

Poor

No opinion

Did not attend

Boys and Girls Clubs

Excellent

Good

Average

Poor

No opinion

Did not attend

Simon Estes Amphitheater 

Mainstage

Excellent

Good

Average

Poor

No opinion

Did not attend

Simon Estes Courtyard Stage

Excellent

Good

Average

Poor

No opinion

Did not attend

 

 

 

 

 

Iowa Shakesperience Fest Evaluation Survey

Exit this survey >> 

6. Share your thoughts with us.

 

 

 

 86% 

 

12. Please list 3 highlights of the 2009 Iowa Shakesperience Fest.

 

Please list 3 highlights of the 2009 Iowa Shakespeare Experience.   Highlight #1

 

Highlight #2

 

Highlight #3

 

 

13. Please list 3 suggestions for the 2010 Iowa Shakesperience Fest

 

Please list 3 suggestions for the 2010 

Iowa Shakesperience Fest

 

Suggestion #1

 

Suggestion #2

 

Suggestion #3

 

 

14. How would you rate your overall satisfaction with this year's Iowa Shakesperience Festival?

 

How would you rate your overall satisfaction with this year's Iowa Shakesperience Festival?   Very Satisfied

Satisfied

Neutral

Dissatisfied

Very Dissatisfied

Additional Comments

 

15. Do you plan to attend the Iowa Shakesperience Festival again next year?

 

Do you plan to attend the  again next year?   Yes

No

Maybe

Why or why not?

 

16. If you have additional comments, please use the box below.

 

If you have additional comments, please use the box below.

 

 

 

 

17. OPTIONAL INFORMATION:

 

The following information is optional.

 

If you wish to provide it, this information will help us to better understand our audiences.

 

A.) I would describe my ethnicity/race as (check all that apply): 

 

Caucasian / white

African American

Of Hispanic Origin / Latino

Asian 

Native American

English is not my primary language

Other

 

 

B.) My age:

Youth (under 10 years)

Pre-teen (11-12 years)

Teen (13-17 years)

Young Adult (18-21 years)

22-30

30-40

40-50

50-60

60-70

Over 70

 

C.) I would describe my income/standard of living as (check all that apply):

 

Middle class

Working class

Upper class

Well-to-do

Retired

Struggling

Hit by the current economy

Student

Artist/Educator/Services provider (Human services, health, public safety, etc.)

Government employee

Self Employed

Small business owner

Mid size business owner

Large business owner

Corporate employee

Corporate manager

Corporate leadership

Other 

 

 

 

 

 

IOWA SHAKESPEARE EXPERIENCE

(The ISE)

Assessing Artistic Excellence

 

Introduction and 

Statement of Philosophy  

(Based on materials of 

Arts Council England)

 

In assessing its artistic quality, the Iowa Shakespeare Experience recognizes that there are different ways of assessing artistic quality. Different artforms and practices with theatre, such as dance, music, dramaturgy, and set, lighting and costume design have their own languages, histories and perspectives. Contexts such as work in Repertory, work with young people, or work to address social

inclusion, may have additional priorities. We are committed to promoting the highest quality in artistic work for the greatest number of people. This is why we have developed this approach to assessing quality.

 

Why do we assess Artistic Quality?

Artistic quality is one of the criteria the ISE finds important in its work with grants. It is central to our responsibility for public funding and our role as an agency which stimulates the arts, and which uses the arts to stimulate tourism and economic development.

 

Caveats concerning the assessment of Artistic Quality:

 

Everyone experiences artistic work in their own way, and everyone’s experience is valid. People respond to artistic experiences differently too. We may be inspired, thrilled or challenged by the experience; we may respond emotionally,

intellectually, physically or spiritually. The capacity to engage us directly and in different ways is one of the strengths of the arts, one of the ways in which the arts can change the lives of individuals and communities. It can also make artistic quality difficult to talk about and define.

 

 

What is the ISE approach to assessing artistic quality?

 

Our approach is to consider three dimensions of artistic

work:

 

• idea – the concept or artistic impetus behind the work

 

• practice – the effectiveness of how the work is put into practice and the impact it has on those experiencing it

 

• development – the contribution the work makes to the development of the artist, the artform and the arts more widely

 

This approach gives us a framework for describing artistic quality and we use it, described in different ways, when assessing the artistic qualities of our plays and the artistic impact of our Festival. 

 

The full list of questions, or ‘prompts’, that we apply when considering these dimensions in focus groups with artists or audience members, or in surveys, in detail is based on the Arts Council England Arts Report form: guidance, available from their website.

 

How do we assess artistic quality?

 

1. Narrative Self assessment

 

The ISE believes that artists are usually best placed to evaluate the quality of the work they produce, and their self-evaluation is the starting point for our own assessments. 

 

2. Narrative Peer assessment

 

The ISE believes in the value of peer assessment. We encourage artists and to involve their peers in making their own self-assessment, and encourage our staff to engage with artistic work regularly. We recognise that at times we need the views of others to contribute to our assessments. 

 

3,. Narrative Independent Reporters/Audience feedback:

 

Evaluation which incorporates independent arts reporters and/or audience feedback as part of an assessment process adds to our arts development expertise, contributes to transparency in our decisions and promotes the culture of peer evaluation in the arts.

 

4.) Likert Scales created when data reaches an appropriate “N” for statistical validity (will vary from project to project)

 

 

For more information

 

The ‘Artistic assessment’ section in the ‘subjects’ area of the Arts England website www.artscouncil.org.uk has the following documents:

 

How we assess artistic quality (this booklet)

Arts report form

Arts report form: guidance

Artistic assessment: guidance for staff

 

 

Understanding the ISE assessment criteria and overview

 

We  ask all who participate in our artistic assessment processes to use their expertise and judgement and comments from others to come to a ‘word score’ for each assessment criteria. The word scores are as follows.

  • Met – outstanding: the show meets the criteria and shows outstanding qualities.   Score = 4.
  • Met – strong: the show meets the criteria and shows strong qualities. Score = 3.
  • Met: the show meets the criteria. Score = 2. 
  • Potential: the show does not meet the criteria but had potential to do so. Score = 1.
  • Not met: the show did not meet the criteria. Score = 0.

 

 

The four assessment criteria

The ISE takes into account the following 4 main criteria.

1. The quality of the show as manifested by Acting technique and/or production values such as costume, set and lighting design

2. The quality of effect the show will have on the people experiencing it, or its ongoing effect on artistic practice (or both of these).

3. How the public will engage with the show, immediately or in the long term.

4. Level of risk in the artistic endeavors manifested in the show

 

Risk and the assessment process

Risk is important in many artistic activities. By taking artistic risks, artists often find ways to break new ground, reach new audiences or increase the range of work they do.

 

When assessing artistic quality, the ISE encourages responders to consider risk in a wider sense. On a simple level, risk is the possibility that the activity will not achieve one or more of its aims. Responders can take this risk into account by recognising what the major risks may be and exploring actions taken to reduce or manage them. 

 

 

“Prompts” and the assessment process

 

Each of the four criteria has a small number of basic ‘prompts’ (questions we ask ourselves to assess our quality). For small and straightforward elements, these basic prompts may provide enough information for the assessor to make a recommendation. For elements that may have increased risks, there are a number of further prompts to help us refine our judgements.

 

Most assessments can be made using these basic or further prompts. 

 

For special artistic components related to a given project, the Assessor may create particular prompts that will be placed in the the Special Prompts section, located below the primary prompts.

 

Prompts we consider

It is very important to note that not all the prompts will apply to every work, or to every artistic choice, but they are the type of things we may look at. Responders use their judgement to decide what issues are relevant in each show.

 

1. Quality

To assess the quality of the activity and the quality of the effect the activity will have on the people experiencing it, or its ongoing effect on artistic practice (or both of these), we ask ourselves the following questions.

 

Basic prompts

  • How strong is the artistic idea within the show?
  • Has the idea been thoroughly thought through?
  • Were the directing/acting/design choices likely to achieve the artistic ambition?
  • How strongly will the directing/acting/design choices provide an excellent experience that affects and changes people engaged with it?

 

Further prompts

 

Artistic quality

  • How relevant is the idea in relation to wider artistic work (or both) it is connected with?
  • How effectively is the artistic ambition realised through the show?

 

Development

  • How does the idea/show develop the Artist’s work and/or the Festival’s (directly or in general)?
  • Is the idea/show developing the skills of the artists taking part or those experiencing the activity?
  • How does the idea/show affect the arts more widely?

 

Innovation and risk

  • Is the artist exploring new ideas and concepts in this show?
  • How will the activity produce a new and excellent experience for people engaging with it?

 

 

Extra prompts

 

Artistic quality

  • How well do the parts of the show (costumes, set, lighting, music, dance) support the main idea?
  • How appropriate is are the various parts of the show for all those involved?
  • How do various elements of the show relate to best practice in this area or type of work?
  • How important was ‘critical dialogue’ (the opportunity for artists to discuss ideas) in developing the show?
  • How well has the show researched, planned and prepared?
  • How well did the work interact with available dramaturgy or stimulate insightful new dramaturgical comment?
  • What potential does choices made in the show have to inspire, affect and challenge others?

 

Development

  • How does the show work build on the lessons learnt through past shows/Festivals
  • What artistic challenge or progress did the show promise for those involved?
  • What new creative opportunities did the activity offer for artists?
  • What effect is the work likely to have on the public, other artists, promoters, partners and critics?
  • How will the artistic choices support or develop wider artistic practice and understanding?
  • What is the show’s potential to leave a legacy for future artistic practice?
  • Will the show encourage wider understanding or debate about the arts?

 

Innovation and risk

  • To what extent does the play show innovation, risk and excellence?
  • Do the artistic choices stretch boundaries or assumptions for the artists taking part in the activity, or the people being engaged with it?
  • What appropriate measures has the Director put in place to manage the level of artistic risk?

 

 

2. Public engagement
To assess how people engage with the show, immediately or in the long term, we ask ourselves the following questions: 

 

Basic prompts

  • Does the show specifically increase opportunities for people who don’t currently engage in the arts, or are only engaged a little in arts activity, to want to invest more time in the arts?
  • Did the show evidence opportunities for creative or effective marketing 

 

 

Further prompts

  • Does the show increase the range of opportunities for people to engage as audiences, as visitors or by taking part, in comparison with typical shows?
  • Has accessibility to the meaning of Shakespeare been considered?
  • Has accessibility to the meaning/enjoyment of Shakespeare by diverse been considered? (Does the activity aim to reach the broadest possible range audiences?)
  • Will the artistic choices lead to continued opportunities for people to engage in thinking, discussing, or wondering about the show?

 

Extra prompts

  • Will the artistic choices have a possible effect on people beyond the immediate audience, visitors or those taking part?
  • Did the show create innovative (new) approaches to engaging the public in this activity or their work in general?

 

3. Management

To assess how the show was managed, we will ask ourselves the following questions.

 

Basic prompts

  • Were the rehearsals realistic and well planned?
  • Were team processes well facilitated?
  • Were challenges or problems addressed quickly, collaboratively, fairly?

 

SPECIAL PROMPTS: REPERTORY FESTIVAL

 

ALL of the above prompts will be asked first to the overall artistic works of the Festival, AND second, also targeted to the Repertory components.

 

However, to particularly explore how Repertory worked and its effect on Festival Art, the Assessor may also ask the following Special Prompts:

 

  • What particular Artistic challenges did Repertory pose?
  • What particular Artistic satisfaction did Repertory pose?
  • How can the challenges/logistics of Repertory be improved in the future?
  • What comments have personnel gleaned from audience members particular to the Repertory components?

 

Sample Repertory Likerts:  (Scale is Strongly Agree to Strongly Disagree)

 

  • This is my first time in Repertory
  • I am an experienced Repertory Artist
  • Repertory was more difficult than I thought it would be
  • We should do Repertory again
  • We should involve all the cast in Repertory roles
  • We should involve Lead roles in supporting Rep roles of the second show
  • We should contain next year’s Rep to 2 shows
  • We are ready to include 3 shows in next year’s rep line up

 

CITATION FOR BASIC CONTENT OF ARTISTIC ASSESSEMENT SURVEYS:

Arts Council England

14 Great Peter Street

London SW1P 3NQ

Phone: 0845 300 6200

Email: enquiries@artscouncil.org.uk

Textphone: 020 7973 6564

www.artscouncil.org.uk 

 

To download this publication, or for the full list of

Arts Council England publications and details of

how to order them, see www.artscouncil.org.uk

ISBN: 0-7287-1278-4

978-0-7287-1278-2

Printed on recycled paper

© Arts Council England, October 2006

 

 

 

IOWA SHAKESPEARE EXPERIENCE

 

Evaluation Theory 

and 

Sample Forms

 

 

The Iowa Shakespeare Experience uses the following information 

and theory to develop its evaluation approach:

 

ALL DATA FROM 2009-2010 used to establish baseline metrics.

 

Social media metrics:  For the period one month prior to and after our show:

  • Number of people following us on Twitter and Facebook
  • Number of people clicking on Twitter links
  • Number of visitors to our websites
  • Number of relevant comments left on our blog posts

 

 

 

Title: Festival evaluation: an exploration of seven UK arts festivals.

Authors: Williams, M., Bowdin, G. A. J.

Abstract by CABIAbstracts 

With the increasing demands of stakeholders and professional development in festival organization, evaluation is becoming recognized as a valuable management tool in demonstrating success and achievement of objectives. However, to date, literature in this area has tended to focus on impacts, satisfaction and on how and why to conduct evaluation, with limited research or published examples covering the approaches taken by individual organizations to evaluate. This paper explores festival evaluation practice by reviewing current literature and presenting the findings of an exploratory study into the approach taken for evaluation of the seven arts festivals in the United Kingdom. The results suggest that there is a relatively clear understanding of the principles of event evaluation and it forms an essential part of the event planning process. Evaluation is carried out at varying levels of advancement with a variety of methods used, though it is difficult to determine the effectiveness of the evaluations.

 

Title: Wine festivals and tourism: a longitudinal approach to festival evaluation. 

Author: Taylor, R.


Abstract by CABIAbstracts

This document presents a range of research approaches used to investigate visitor satisfaction and the service quality of a regional wine festival from data collected over a 5-year period. The trends highlight the need for continuous research being undertaken using a triangulated approach to better understand the nature of festivals and events. Not only is the information gained valuable from a festival and event planning, management and marketing perspective per se, it is also important in relation to the high repeat visitation levels at many regional festivals and events and the potential catalytic effect in relation to tourism.

 

 

IOWA SHAKESPEARE EXPERIENCE

Short Demographic 

and Likert Scale Form 

(To supplement Gate Clicker Counts, Attendees fill out a version of this form voluntarily at gates in exchange for a drawing for prizes)

 

 

2009 Shakesperience ™ Festival 

Feedback Form

Your opinion is important to the Festival!
Please tell us what you think using this convenient form. Thank you! 

 

 

1.With “1” being Good/Great, “2” being Average, and “3” being poor, please indicate how you rank your overall experience at the Festival:

1 2 3

 

 

Comments:

 

 

 

2.)  With “1” being Good/Great, “2” being Average, and “3” being poor, please indicate how you rank the quality of the theatre at the Festival:

1 2 3

 

 

Comments:

 

 

 

2.) How did you hear about Shakesperience Festival?
Newspaper
Radio
Television
Internet
Word-of-Mouth
Poster
Other    

2.   What are your reasons for attending the Festival?
Please rate your top three reasons. "1" being top priority, "2" second priority, "3" your third.

 

I enjoy Shakespeare

 

I want to learn more about Shakespeare

 

I enjoy Theatre

1 2 3

 

 

 

 

I enjoy the atmosphere- picnicking, being along the river, being under the stars

1 2 3

 

 

I enjoy the chance to spend time out with my family or friends

1 2 3

 

 

I like that participating in this kind of annual event in our community

1 2 3

 

 

The Festival is affordable

1 2 3

 

 

The ease of parking or generally, the convenience of the location

1 2 3

 

 

Other: _____________________________

1 2 3

 

 

 

3.   Please check what is most true for you (all that apply)

When I came to the Festival, I already liked Shakespeare
I was not sure I would like Shakespeare, but I liked what I saw
I was not sure I would like Shakespeare, and I didn’t like what I saw
I was not sure I would like Shakespeare, I liked what I saw, but would like to understand it more

 

4. How many shows do you generally see at the Festival?
Please check all that apply:
Thursday (date) only
Friday (date) only
Saturday (date) only
Sunday (date) only
At least two days
Every day of the Festival!

4.)  With “1” being Metro Des Moines, “2” being a 30- 90 minute drive, and “3” being more than a 90 minute drive, please indicate how far you came to attend the Festival:

 

1 2 3

 

 

 

5,)Did you patronize any businesses/cafes/shops/hotels as a direct result of coming to the Festival?  (For example, purchasing picnic supplies, shopping or window shopping expedition, patronizing cafes, restaurants, taverns or hotel/motels, Bed and Breakfasts, or Campgrounds?  Visiting galleries or museums?) 

 

If so, where were these businesses located?
Please check all that apply:
Nearby “Historic East Village” location (Same side of River as Festival)

Historic Court Avenue or other downtown location (other side of River from Festival)
In Historic Valley Junction 

Other location in the Des Moines Suburbs

  In or near a Des Moines area Mall
Stopped enroute outside of Des Moines while driving to Des Moines
Plan to stop enroute outside of Des Moines while driving home 

6.) Any other comments:

 

 

OPTIONAL INFORMATION:


The following information is optional, but would help us better understand our audiences:

 

7.) I would describe my ethnicity/race as (check all that apply): 

 

Caucasian / white

African American

Of Hispanic Origin / Latino

Asian 

Native American

English is not my primary language

Other

 

 

8.) My age:

Youth (under 10 years)

Pre-teen (11-12 years)

Teen (13-17 years)

Young Adult (18-21 years)

22-30

30-40

40-50

50-60

60-70

Over 70

 

9.) I would describe my income/standard of living as (check all that apply):

 

Middle class

Working class

Upper class

Well-to-do

Retired

Struggling

Hit by the current economy

Student

Artist/Educator/Services provider (Human services, health, public safety, etc.)

Government employee

Self Employed

Small business owner

Mid size business owner

Large business owner

Corporate employee

Corporate manager

Corporate leadership

Other