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DocuSign Envelope ID:AD99FE27-E625-45CC-B353-AEE3ADA2F2DA
<br /> r
<br /> piece,, The creative team is collaborating with partner Skip Rizzo at Its t and visited IC T most �
<br /> recently atly ira August 201.6 to incorporate recent developirients to VIA technology rratcr the world of
<br /> the play.
<br /> y y raising oaf, having the E grant of$15,000,
<br /> e,00, $4,0100
<br /> u'c arc, crrrcratt err c>rrr � to rrrrr farad
<br /> i tted� to the project from, the, E $ 00 from the � ce
<br /> Foundation, , ..�, rn c Green
<br /> pending, T"hercreaat vice team is bring with them several hundred
<br /> coraanar .
<br /> thousand dollars'other
<br /> worth cal in-kind support through Virtual Iraqs design team's gift of the
<br /> software for and theatrical rights to Virtual Iracl :rs well as space and egUiprrlcrrt from the
<br /> University of"North Carolina at C;�hapet Flill and the 't.,tniversi:ty of:'Maryland.
<br /> publicity and er in � established"marketing prograin and PR list a press
<br /> releases o rr t�tculaatv Is in advance c f hcarodrctroasand we have lr� with
<br /> h
<br /> publications both oil line and printed who normally respond with some promotion of the wor k
<br /> before opening and reviews of the work once it opens. This traditional mode of`pronrotion is
<br /> critical to the traditional theatre going market.
<br /> As we have said elsewhere,sewhere, for this production � - are also cr l post show and
<br /> nd
<br /> reaching orrt t o specific constituencies with the goal of bringing normally d ratc discussions
<br /> into the theatre together, We will reach out to both traditional and non-traditional audiences,
<br /> theatre� the i content audience, but reach.out to a new, younger, and more diverse community of artists
<br /> using �rra cal tl��ae work gas a raa,aior draw. �.s always, we hope to c.Ialrven not.
<br /> rant (lie older
<br /> tlac��<atrc ern audience, b
<br /> fists
<br /> and audiences.
<br /> Clearly word of month is the strongest marketing toot in theatre, and critical responses to our
<br /> hy years should � e . important part of our publicity and
<br /> work motion is maintaining the highest standard of attist cquality in the work. A rave review and
<br /> word of mouthy is the best promoter of any theatre piece.
<br /> All studies indicate that rd ia�r c,>arr central media,nary. 7c> crlc�r���la t1�aFrr�.�� C)laseraaehrc able to be
<br /> create an ongoing presence y budget
<br /> advertising only with repetition, sea our
<br /> Observer, 1rre�lra cNr,,
<br /> create
<br /> and Facebook are our° likely places to arse advertising budget based oil current
<br /> demographics.
<br /> Evaluating Project Success', Id"A DYA11 is experimental inform and content: it combines two
<br /> perspectives (Traci civiliaa,n; US veteran) almost never seen oil stage together, and it does so by
<br /> re ur° casing a digital military t theatrical stage purposes. As Laruren.
<br /> Gunderson writes, theater is a tens, no a mirror. In combining digital landscapes with the
<br /> technology icrr expressionistic t c r c ur° cr
<br /> c of live performance we foreground �politics ° � c innovative, roving shifting
<br /> es
<br /> �� 'a 1. center ��ronnct ttar„p Sara poetics tla���
<br /> immediacy century--what ana.� es out. l'h? tea
<br /> ,. ., "what rt zooms n, what it leaves t tlac" � �,l s rn o � a.tarase Raymond
<br /> ract
<br /> he parameters of r�hat we tally about when we talc about, a r
<br /> l of par���p r ,, ya�ro
<br /> Carver), and in.pioneering the worlds first adaptation Iraq ��t�or live l�,er for �Dance.
<br /> "t"herefore, evaluating the artistic success refthis venture and its benefit to audiences will not be
<br /> simple. StrectSigns
<br /> measures audience r
<br /> rlvement directly in talbac M with the audience and
<br /> in panel discussions and indirectl y monitoring seer at arccra statistics and statistics r
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