Web communication can help theaters attract and keep younger audiences

Abstract

This paper focuses on the use of web communication tools as a policy device to regulate access to theaters. By comparing the profile of what we call 'techsavvy' spectators (i.e. audience using the website of a theater) with the profile of the general audience we examine whether the web can be regarded as an effective tool to address regular spectators or to reinforce the participation of different segments within the audience. The study suggests that the web appears to be the favorite direct marketing tool for informing or retaining 'inexpert drama lovers', namely those who fish in different types of performing arts events (i.e. opera, ballet, and classical concert) or attend different types of theatres. Moreover, internet may combat the aging of the performing arts audience by giving priority to access to those that are more familiar with the new technologies (i.e. younger audience).

Here’s one for the next show

“…MacMillan et al, 2005;Saxton et al, 2007). In recent years, non-profit organizations have been primarily resorting to a unidirectional transmission of information to their clients (Turrini et al, 2011). The problem with such a one-way communication traffic is that clients are deprived of the opportunity to be heard by the company whenever the need to voice out something arises, which could negatively affect company-customer relationship.…”

“…That same study also reported that two-way communication is crucial in the relationship marketing process. In line with these findings, marketing strategies and tactics in the performing arts pursue three goals: first, providing the audience with more information about the program; second, enabling transactions like online ticket purchase or donations; and finally, fostering a two-way-interaction between the audience and the organization (Saxton et al, 2007, Turrini et al, 2011. Hence:…”

“…Odekerken-Schröder et al (2003) identified four marketing tacticspersonalization, two-way communication, preferential treatment, and rewardingon consumer relationship and retention in a shopping mall context. Systematic research into the impact of this marketing tactic in the performing arts is still scant (Turrini et al, 2011). Figure 1 shows the relationship of these tactics with the dimensions of relationship marketing.…”

Introduction

“…Answers vary, however, as to what experiences audiences seek and how organizations could provide these. Strategies proposed include providing opportunities for more active audience engagement (Brown & Novak-Leonard, 2011;Conner, 2013;Glow, 2013;Pulh, Marteaux, & Mencarelli, 2008); performing in non-traditional venues (Walker & Sherwood, 2003;Reidy, 2014); creating a more welcoming, social, and/or informal environment (Brown & Ratzkin, 2013;Pulh, Marteaux, & Mencarelli, 2008; on socializing as a motivation see National Endowment for the Arts, 2015b; Ostrower, 2008); making increased use of technology and digital media (Bakhshi & Throsby, 2012;Preece, 2011;Turrini, Soscia, & Maulini, 2012;Walmsley, 2016); and better understanding audiences through market research (Grams, 2008;Harlow, 2014).…”

Przekaz symboliczny i podejście User Experience na przykładzie serwisów internetowych teatrów krakowskich

“…Natomiast za najbardziej wartościową publikację, ze względu na badany serwis internetowy, uznano The Royal Opera House Website Evaluation Report (Trosheva, 2013). W projektowaniu własnej procedury badawczej przydatne okazały się publikacje dotyczące komunikacji teatru z widzami, w tym badanie nawyków konsumenckich związanych z nabywaniem biletów na spektakle oraz rola emocji w tym procesie (Troilo et al, 2014), komunikacja teatru z publicznością za pomocą Internetu (Turrini et al, 2012), strategia pozyskiwania widzów teatralnych z wykorzystaniem narzędzi komunikacji cyfrowej (Kossecki & Świerczyńska-Kaczor, 2014) oraz badanie publiczności i wizerunku teatrów warszawskich (Siwiak et al, 2013).…”