Social engagement and regional theatre: patterns of theatre attendance

Grisola, JM; Willis, Kenneth G.; Wymer, Colin; Law, Andrew

doi:10.1080/09548963.2010.495277

Cited by 21 publications

(23 citation statements)

References 15 publications

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“…This confirmed the findings of Nielsen and McQueen [25] who determined that attendees at arts events had somewhat higher amounts of leisure time and were well educated professional people. The same results were confirmed by Grisolia et al [16] . When it comes to gender, several studies (O'Hagan [27] ; Quine [32] , Chan and Goldthrope [6] ) have showed that women are more likely to attend theatre than men.…”

Section: Introductionsupporting

confidence: 84%

Insight Into Adult Classic Theatre Audiences’ Perceptions and Behaviour

Šimić

Pap

2020

GES

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Many cultural institutions are experiencing challenges to implement different types of market-oriented behaviour in order to ensure their existence. Classic theatres are faced with many challenges related to their audience. One of the challenges is related to traditional audience that is declining and ageing. The aim of this research was to identify and analyse the key factors that contribute to understanding of attitudes and behaviour of 35+ theatre audiences in order to suggest appropriate marketing strategies for the classic theatre in Croatia. The research was conducted on altogether 438 participants. Statistical techniques of univariate analysis (frequency distribution, central tendency measures), bivariate (ANOVA and t-test) and multivariate analysis (reliability analysis, linear regression) were used. The results have identified attitudes and audience behaviour in relation to HNK Osijek. Three major factors were identified: theatre marketing profile, theatre people and stereotypes. This study seeks to provide a deeper understanding of classic theatre audiences’ perceptions and behaviour as a basis for theatre marketing strategy development. Since no other research has tested the influence of stereotypes on theatre attendance, the major contribution of this paper is its proven negative influence on theatre attendance.

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Section: Introductionsupporting

confidence: 84%

Insight Into Adult Classic Theatre Audiences’ Perceptions and Behaviour

Šimić

Pap

2020

GES

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“…In analysing attendance rates, more education generates more attendance (McCarthy and Jinnett 2001), a fact also confirmed by Grisolía et al (2010) using census information of the theatregoers. Werck and Heyndels (2007) included age in their econometric model of theatre demand, but this variable, despite of the considerable size of the sample , provides no significant results.…”

Section: Socio-economic Factorsmentioning

confidence: 80%

“…Thus, the 'culturally' sophisticated class appears to require culture in a pure form and is willing to pay the largest amount of money for any representation, particularly drama. This class is less dependent and influenced by reviews and WOM judgements than the other classes, because they are likely to have higher educational attainments (Grisolía et al 2010) and, therefore, have more independent tastes. However, in our results, a postgraduate higher degree is correlated with affluent class, which makes sense because education is a proxy variable for income.…”

Section: Discussionmentioning

confidence: 98%

“…Research by Grisolía et al (2010), using census data to model theatre attendance, revealed that those attending RSC performances came from areas where the population had higher education attainments, whereas those attending comedy shows had a wider representation in society and came from areas where the population had fewer educational attainments. This is mirrored in the results here with the identification of a 'culturally' sophisticated class and a 'popular' class.…”

Section: Discussionmentioning

confidence: 98%

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A latent class model of theatre demand

Grisolía

Willis

2012

J Cult Econ

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This paper investigates market segments for theatre demand using a latent class model. The model is applied using data from a stated preference survey implemented in a regional theatre in England. Results allow three classes of theatregoers to be identified. The largest and 'main class' comprises mainly affluent people who show a strong preference for main theatre venues, consider reviews of the productions, whether the author is known, and like all types of shows. The second is a 'popular class', exhibiting the smallest willingness to pay and manifesting a strong preference for comedies, paying little attention to venues and disliking more sophisticated shows. The third is an 'intellectual class' of theatre goers, who exhibit the maximum willingness to pay, and show a strong interest for drama and adaptation of productions, and more independent aesthetic judgement. The study shows the usefulness of latent class models in identifying market segments, a procedure that is relevant to policy makers and theatre managers in setting prices, identifying different kinds of consumers to increase people's engagement with theatre, and undertaking social analysis of performing arts.

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“…After RSC, a 'review' indicating the show is 'very good and a must see' is the second most importance factor in the utility function. The importance of 'reviews' in choice of show was noted by Grisolía and Willis (2010) from a survey of audiences at another theatre: Northern Stage. This attribute has almost the same magnitude as the RSC with a coefficient of 0.472 and a high significance t-ratio of 6.45.…”

Section: Discrete Choice Econometric Modelsmentioning

confidence: 99%

Consumer choice of theatrical productions: a combined revealed preference–stated preference approach

Grisolía

Willis

2015

Empir Econ

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Newcastle University ePrints -eprint.ncl.ac.uk Grisolia JM, Willis KG. (2015) Consumer choice of theatrical productions: a combined revealed preference-stated preference approach. Abstract This paper investigates the value of attributes of theatrical productions using a joint revealed preferencestated preference (RP-SP) method. SP models have advantages over RP models, requiring less data and avoiding multicollinearity problems which often confound RP analysis. However, the advantage to joint RP-SP model is that theatre-goers choices are anchored to real behaviour. The RP-SP model reveals the most important determinant of choice and willingness-to-pay (WTP) to be the type of show. The Royal Shakespeare Company (RSC) strongly influenced choice and WTP. Reviews of productions by theatre critics influenced choice. A mixed logit model revealed considerable heterogeneity in theatre-goer tastes for types of show, and variation in taste for the attributes of shows by socio-economic and demographic profile of theatre-goers.

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Social engagement and regional theatre: patterns of theatre attendance

Cited by 21 publications

References 15 publications

Insight Into Adult Classic Theatre Audiences’ Perceptions and Behaviour

Insight Into Adult Classic Theatre Audiences’ Perceptions and Behaviour

A latent class model of theatre demand

Consumer choice of theatrical productions: a combined revealed preference–stated preference approach

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