Enjoying theater: The role of visitor’s response to the performance.

Abstract

In the literature, there is broad agreement on the relevance of visitor's cognitive and emotional reaction to a theatrical performance. However, research on the relative importance of visitor's response for their overall subjective evaluation of a visit to the theater is rare. Addressing this research gap, this article investigates the relative impact of visitor's cognitive, emotional, and conative response to a performance for their overall subjective evaluation of a visit to the theater. A study of 2,795 visitors viewing 44 performances in 12 German-speaking theaters reveals visitor's emotional (i.e., involvement and empathy), cognitive (i.e., complexity), and conative (i.e., thought-provoking impulses, animation for communication) responses to a performance as significant determinants of their overall evaluation of a visit to the theater.

Big C Research – The Big Challenge? Reflections from Research into Eminent Creativity in the Light of the Investment Theory of Creativity

“…I based classification of the texts mainly on the content of the abstract, keywords, and in the case of empirical texts on the research methodology. Among the 135 articles from all four journals, only two (1.5%) (Boerner & Jobst, 2013;Swami, 2013) dealt with eminent creativity, and 22 (16.0%) with professional creativity (12 PACA; 7 CRJ; 2 TSC; 1 JCB), for example: Chan, Hui, Cheng and Ng, (2013); Karpova, Marcketti and Kamm, (2013); Nęcka and Hlawacz, (2013); Simoens and Tervaniemi, (2013). Among articles devoted to professional creativity: 16 (72.8%) were based on quantitative analyses, three (13.6%) on qualitative analyses and three (13.6%) represented theoretical considerations; both articles on eminent creativity were supported with results from quantitative analyses (see also Feist & Runco, 1993).…”

Impacto del ocio formativo musical en los niveles de escucha. Resultados de una intervención con personas mayores.

“…Para la elaboración de dicha escala se revisaron otras escalas relacionadas con la percepción de las artes escénicas y musicales en general (Boerner & Jobst, 2013;Rös-sel, 2011) y con la percepción de la música clási-ca en particular (Albaina y Cámara, 2010;Blasco, 1996;Chin & Rickard, 2012;Gabrielsson, 2002;Law & Zentner, 2012;Thompson, 2007).…”

Four Types of Leadership and Orchestra Quality

“…Artistic quality of the orchestra. In contrast to performance quality in the music theater (Boerner and Jobs 2013;Boerner et al 2008), artistic quality in orchestras as a leadership outcome has rarely been investigated in previous leadership research (Hiller et al 2011). 2 Building on previous studies (Boerner 2004;Boerner and Krause 2002;Boerner et al 2004), the present study gathered facets of the reactions to the quality of the orchestra, such as the resonance of the audience, the reactions by the press/critics, guest soloists' assessments, the conductors' assessments, and musicians' assessments (operationalized by their personal quality expectations, individual musical skills, musical skills of the whole orchestra, and the overall judgment).…”