Search results

The purpose of this paper is to establish the image and associated impression of atmosphere created by independent theatres at two fringe festivals namely, Edinburgh Fringe Festival and Melbourne Festival Fringe.

The paper contains a content analysis of promotional materials produced by the independent theatres for their involvement in their respective fringe festival.

The atmosphere created is of fringe festivals replete with serious experimental theatrical productions, with independent theatres being the home of alternative ideas and the performers being skilled in the production of the art form.

The atmosphere created by the independent theatres is similar to that projected by the fringe festival overall.

The paper highlights the importance of the fringe festival organisers establishing a strong working relationship with the managers of independent theatres to ensure the most appropriate promotional material is used to attract the desired target audience to the fringe festival.

This paper is of value as most festival‐related literature provides only a passing mention to atmosphere whereas this paper investigates atmosphere in more depth. The paper adds to the limited research on fringe festivals.

Researchers have become aware of the importance of festivals as a phenomenon worthy of studying, but in-depth studies of cultural festivals are lacking. The purpose of this study is to describe the attributes of cultural festivals, specifically theatre festivals and examine the motivations to organise them. Similarly, this study seeks to discover the type of tourist that attends these types of festivals.

A questionnaire was applied to a representative sample of tourists who visited one of the most prestigious festivals in the international panorama: Almagro International Festival of Classical Theatre. A non-probabilistic technical sample was used. Tabulation of the data was performed by the study group using the SPSS, v. 23.

This study makes a segmentation of the tourists who attend the festival based on their motivations. Using this segmentation, the authors analyse the socio-demographic characteristics and tourists’ behaviour, as well as their experience at the festival. Amongst the higher-rated attributes of the festival are care and service organisation and interpretative quality of the actors and/or theatre company.

The main practical application of this study is to help understand the peculiarities of each segment of visitors and their evaluation of the destination to create tourist and cultural products that provide greater satisfaction with respect to their needs.

The main value is the novelty of studying this kind of cultural event. The authors analyse the reasons to visit it in relation to the motivations that move the visitors. The authors also study the assessment the tourist does of the qualities of the festival.

The chapter is focused on the production of the first Brazilian University Festival of Improvisation Theatre and the problems faced by the production team (teachers and students from two public higher education institutions in Rio de Janeiro). The institutional and political boycott faced by the team will be described and analysed, in a socio-political context of democratic rupture, with the event assuming a character of art for change and resistance.

The purpose of this paper is to complement existing work on multi‐channel environments of shopping experiences and retail channels by exploring the use of different channels in the consumer decision‐making processes associated with ticket purchase for performances in a regional annual theatre festival.

Analysis of the audience questionnaire focuses on the relative use of different channels and specifically the importance of the Internet in the stages leading up to attendance at the festival – awareness, information gathering, decision making and purchase transaction.

The extent of use of different channels at different stages in the decision‐making process varies, although the Internet is the only channel that can be and is used to support all stages of the process. Throughout the process, with the exception of purchase transaction, the use of word‐of‐mouth is significant. Customers who started using the Internet at the awareness stage often continued to use it. Neither gender nor age has a significant effect on patterns of channel use.

This study contributes to research into the use of multiple channels in consumer decision making, particularly in relation to customer multi‐channel employment, the factors that affect channel use, and the role of word‐of mouth in multi‐channel contexts.

Ancient theatres and odea are one of the most significant and creative socio-cultural edutainment centres of human history that are still in use. They stood and served as huge multi-functional structures for social, religious, propaganda and political meeting space. Meanwhile, ancient theatres’ sites have an intrinsic value for all people, and as a vital basis for cultural diversity, social and economic development, they should continue to be a source of information for future generations. Though, all places with ancient theatre heritage should be assessed as to their potential risk from any anthropogenic or natural process. The paper aims to discuss these issues.

The main paper’s objective is to discuss mainly the anthropogenic and technical risks, vulnerability and impact issues on the ancient classical theatres. While elaborating on relevant recent studies, where the authors were involved in ERATO and ATHENA European projects for ancient theatres and odea, this paper provides a brief overview of the main aspects of the anthropogenic qualitative risks and related issues for selected classical antiquity theatres. Some relevant cases are critically presented and investigated in order to examine and clarify the main risk mitigation issues as an essential prerequisite for theatre heritage preservation and its interface with heritage reuse.

Theatre risk mitigation is an ongoing and challenging task. By preventive conservation, theatre anthropogenic qualitative risks’ management can provide a framework for decision making. The needed related guidelines and recommendations that provide a systematic approach for sustainable management and planning in relation mainly to “ancient theatre compatible use” and “theatre technical risks” are analysed and presented. This is based on identification, classification and assessment of the theatre risk causes and contributing factors and their mitigation.

The paper also suggests a new methodological approach for the theatre anthropogenic qualitative risk assessment and mitigation management, and develop some recommendations that provide a systematic approach for theatre site managers and heritage experts to understand, assess, and mitigate risks mainly due to anthropogenic and technical threats.

To make sense of the relationship between the festival attendance and the aims in arts festival management, the purpose of this paper is to explore the key characteristics for success and analyze the perceptions of the future in arts festival productions.

This qualitative study uses interviews with festival managers and empathy-based stories (MEBS) written by members of festival audience. Discourse analysis is employed for answering the questions: What are the characteristics of a successful festival, and what could ruin it?

The paper highlights the importance of interaction with the audience orchestrated by the festival organization. Such interaction co-constructs a more holistic festival experience valued by both parties, which supports the sustainability and future success.

The research data are limited to one country, and music festivals dominate the data.

Among managers, there is a need to consider audiences as consumers and as producers in the current competitive climate in the arts and cultural field and clarify the role of the audience as a partner in the networked festival production by placing the attendee at the core of the strategic planning process of arts festivals.

The research combines the views of the demand-and-supply side. It adds to the knowledge in arts and festival management by exploring the relationship between attendance and the aims of arts festival management in general, and the key characteristics of success in the arts festival context in particular. MEBS offers new interesting opportunities for future research in qualitative festival research.

Using a cross-cultural perspective, the purpose of this paper is to examine the effect of cultural difference and travel motivation on event participation and how cultural difference may influence the relationship between travel motivation and event participation. The paper highlights the importance of culture in tourism research.

The research was conducted by using a secondary data set (n=24,692) commissioned by Destination Canada (formerly the Canadian Tourism Commission). Both descriptive statistics (e.g. frequency analysis) and inferential statistics (e.g. hierarchical regressions) were calculated.

First of all, the results indicated that travel motivations and cultural difference can impact event participation. For example, those who were more motivated by knowledge and competence (e.g. knowing history and culture) were more likely to participate in art festivals and cultural events. Also, the research recognized that Asian-Canadians were more likely to visit ethnic or religious festivals than Anglo-Canadians, whereas Asian-Canadians were less likely to attend farmers’ market in comparison with Anglo-Canadians. Last, the effect of cultural difference can moderate the relationship between travel motivation and event participation.

These findings emphasize that travel motivations and cultural difference are key factors to be considered for festivals’ marketing. Particularly, the moderating effect of cultural difference reinforces that the important role played by culture for effective festival marketing should not be ignored. The research also provides valuable insights for destination managers who are interested in Asian markets. Moreover, using a secondary data set prepared by the Canadian Government largely increased the results’ representativeness, trustworthiness, and generalizability.

The purpose of this paper is to show the potential of cultural projects which could become a source of inspiration in terms of refreshing and adjusting traditional project management to modern times and making it more flexible. However, as research indicates, this potential is limited by cultural policies forcing artists and cultural managers to implement project-related techniques which have been already identified as inefficient and faulty in the progressive discourses on project management, mainly in the for-profit area.

The analysis is based on three case studies of Polish and Polish-German theatrical co-productions. The research was conducted in Poland and Germany in 2012-2014. It involved 21 individual in-depth interviews with artists, managers and administrative staff working on projects as well as an analysis of project documentation.

It has been found that project management could draw a lot of inspiration from cultural projects in terms of, e.g. the processual nature of activities, motivating project teams and inclusive leadership. Based on the research, the authors also argue that it is worth considering spectators/other stakeholders as part of project teams, which will help build a non-oppressive social mechanism of control.

Advantages of replacing the just-in-time approach to project management with the work-in-progress approach; increased motivation and commitment of project teams to their work; building a unique team spirit; inclusive leadership based on passion.