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Arts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.

This study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.

The text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.

One of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.

This study documents an innovative approach to reaching theatre audience via social media in Nigeria.

This research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.

The study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts projects through social media.

Despite an increasing trend in adoption of social media by for-profit organizations and their chief executive officers (CEOs), there is little understanding of how these new channels of communication are incorporated into the broader communication domain of a firm to discharge accountability during a crisis, when accountability is of critical importance. More importantly, research on how people perceive a crisis and voice their opinions to firms and CEOs on social media in reaction to that crisis is rather limited. Therefore, in this study the authors investigate these questions.

This study is based on a case. The authors focus on the biggest data breach in Internet history in a pioneer technology firm, the Yahoo data breach. The authors conduct descriptive and dramaturgical analyses informed by Goffman to investigate how Yahoo manages its several front stages (communication channels), including social media during and after the Yahoo data breach announcements, and how people respond to the Yahoo's front stage management.

The results show that, during this crisis, Yahoo engages in management of its front stages by first limiting them to a few, then by redrawing the line between its back and front stages, and finally by expanding its front stages to include two-way communication channels, including social media. An ongoing accountability process back stage guides Yahoo's management of its front stages and undermines Yahoo's accountability in front stages. However, social media audiences challenge Yahoo's control of its front stages by using various frames to make sense of the crisis, and to demand accountability.

This study furthers the understanding of how social media platforms are positioned in a firm's broader communication channels during a crisis. It also enhances understanding of accountability demand, especially during critical times in a digitized era.

The purpose of this study is to understand the effect of increasing the intensity of sexual or violent content on consumer responses to online video advertisements, with a particular emphasis on sharing intentions.

The paper uses a between-subjects experimental design across two studies using new to the world online video advertisements as stimuli.

Study 1 finds that increasing the intensity of sexual and violent humor improves advertisement effectiveness amongst men but leads to significantly more negative attitudes toward the advertisement and brand amongst women. Study 2 identifies gender and humor type as moderators for sharing intentions in the presence of audience diversity. While men are more likely to publicly share sexual and violent humor advertisements, social anxiety mediates intentions to share sexual humor advertisements in the presence of greater audience diversity.

The paper offers insights to practitioners regarding the use of risqué forms of humor as part of a digital marketing strategy.

Drawing on and extending benign violation theory, the paper introduces and verifies a theoretical model for understanding consumer responses to the use of risqué forms of humor in online advertisements. It identifies how audience diversity affects sharing intentions for sexual and violent humor-based advertisements on social media.

This study aims to examine whether counterfeit luxury buyers’ tendency to impress others overrides their anticipation of embarrassment or whether the anticipation of embarrassment delimits their self-presentational goals.

This paper is based on three studies – a survey and two experiments that test the predictions. This study adopts a mix of moderation and mediation analyses to test the proposed hypotheses.

The findings reveal a greater counterfeit purchase likelihood and embarrassment aversion among publicly (vs privately) self-conscious consumers. Furthermore, a higher (vs a lower) audience class and a conspicuous (vs an inconspicuous) brand lead to lower counterfeit purchase intention, and anticipated embarrassment mediates both these effects. To mitigate the threat of embarrassment, publicly self-conscious consumers are more likely to buy counterfeits among a higher-class audience when the brand is inconspicuous (vs conspicuous). They, however, are indifferent to brand conspicuousness among a lower-class audience.

To deter counterfeit consumption, anti-counterfeiting campaigns must invoke consumers’ tendency to overestimate the degree of public attention. Ad appeals must accentuate the anticipation of embarrassment by enhancing self-consciousness through a higher-class audience involving a conspicuous brand.

This paper makes a novel contribution to counterfeiting literature by demonstrating that counterfeit luxury consumption is driven by countervailing motives of gaining approval and avoiding disapproval. The paper departs from mainstream theorizing by demonstrating that counterfeit luxury buyers engage in a protective self-presentation style by choosing inconspicuous counterfeits.

Based on narrative theory, emotional contagion theory, and anticipated emotions theory, the purpose of this paper is to adopt an experimental design intended to understand how narrative advertising video on internet, narrator flow and online audience characteristics influence the health communication effects and depression prevention messages of public service advertisements.

This study uses two experimental designs. The first contrasts the effectiveness of persuasion between narrative and argument advertising videos on internet, while the second contrasts the effectiveness of persuasion between narrators with high and low flow. This study employed partial least squares path modeling to validate the research structure hypothesis.

Empirical results indicate that internet narrative advertising video is not direct, but rather draws on flow and positive anticipated emotions to stimulate the production of online audience intention to adopt health risk-reducing behaviors. Compared with narrative advertising video, which influences intention to adopt health risk-reducing behaviors through flow and positive anticipated emotions, narrator advertising video with an emotionally invested high-flow narrator can strengthen online audience intention to adopt risk-reducing behaviors more directly and positively.

The study results can provide elements to assist in the design of online advertising video on depression prevention and health promotion.

In this study, the dialogue among narrative theory, emotional contagion theory, and anticipated emotions theory is constructed, and an integrated conceptual framework is developed for the relationship between internet advertising video type and the health communication.

This paper aims to investigate how marketing leakage to undesired audiences, a common phenomenon in today's globally connected world of consumers, impacts on the target audience, and how marketers can mitigate the negative effects of leaked marketing.

The authors conduct three studies in line with research on the third-person effect (TPE). The studies feature experimental designs with participants from neighbouring countries.

The first study finds that people in the intended target audience expect and overestimate a (negative) reaction in the undesired audience to marketing leakage, and this impacts negatively on their own reactions. The second study replicates and extends the findings, showing that explicit information that marketing has leaked to an undesired audience impacts negatively on both the attitudes and behaviors of the intended, target audience. The third study tests potential strategies to mitigate the negative effects of leaked marketing and finds that the most important thing is to inform the intended target audience that the undesired audience has accepted the marketer's actions.

Extending the TPE to marketing, this is, to the authors' knowledge, a first investigation of the previously neglected phenomenon of marketing leakage and the impact of undesired audiences on marketing effectiveness. It hopes to stimulate further research on consequences of marketing leakage and enrich research on international advertising and crisis management.

This is, to the authors' knowledge, the first inquiry into how and why marketing leakage to undesired audiences impacts on the intended target audience, and how negative effects can be mitigated. The original use of a third-person approach in this setting helps explain marketing effectiveness and assess managerial strategies.

The purpose of this paper is to investigate the impact of the importance, assigned by audiences, of factors such as people, movie features, script, price, promotion, and distribution channels (defined as a movie marketing mix) on the audience’s buying intentions, as well as the impact of their buying intentions on word of mouth (WOM). In addition, the intention is to explore the relationship between the preference and frequency of people’s cultural event attendance with their buying intention and the relationship between people with extroverted personalities and WOM.

The data were collected from 904 valid surveys conducted in Beyoglu, one of the important centres for the culture and art life of the Istanbul.

The results show that promotion, actor or actress, and diversity of distribution channels have a positive effect on people’s purchase intention. In addition, the frequency of attendance to cultural events can be determinative of the audience and helpful for industry professionals.

Although there have been a number of studies that examine the simple relationships among some of these variables (movie marketing mix, attendance, purchase intention, WOM, extraversion), there is still a gap in the literature with regard to these variables in an integrated framework. Considering these variables in the same model and analysing the effects of each dimension individually provides a better explanation of consumer purchase intention and post-purchase behaviour in the movie industry. This study extends the previous research by incorporating the concept of movie marketing and consumption by improving the scale with data collected in Istanbul, Turkey.

The purpose of this paper is to explore the impact that theatre can have on its audiences, both immediately and over time.

The article evaluates the existing literature on impact and critically reviews a number of benefits models. Through a textual analysis of 42 semi‐structured depth interviews, the paper deconstructs the concept of impact and rearticulates it in audiences’ terms.

Impact emerges as a personal construct articulated by audiences in terms of emotion, captivation, engagement, enrichment, escapism, wellbeing, world view and addiction. Impact is ultimately described as a relative concept, dependent on audience typology and perceived by audiences in holistic terms, incorporating both intrinsic value and instrumental benefits. While catharsis is confirmed as a key enabler of impact, flow emerges as both an enabler and a benefit in itself.

As this is a qualitative study with a sample of 42, the results are not representative of theatre audiences in general. Future research might test the findings of this study in a larger, quantitative survey, which might also test the relationships between the emerging variables.

There are significant implications here for theatre‐makers and venues. From a marketing perspective, more sophisticated segmentation of audience databases could uncover ‘value ambassadors’ to spread positive word of mouth about the impact theatre has on their lives. Venues and touring companies could also consider how to prepare audiences for impact more effectively and how to minimise distraction and facilitate audience interaction with artists and theatre‐makers. Obvious solutions here are mood enhancing atmospherics and well trained front‐of‐house staff.

The originality of this study lies in its audience‐focussed approach. Impact has tended to be constructed from the perspective of producers, marketers and academics, whereas this study invites audiences to describe it in their own, authentic vernacular. These authentic insights are of value to academics, producers, policy advisors, funders and marketers working in the arts, because they help shed light on why people attend the arts and the benefits they derive from them.

This study examines the effect of both objective knowledge (i.e., what arts audience members actually know about art) and subjective knowledge (i.e., what arts audiences members think they know about art) on their propensity for experience-sharing (i.e., the tendency to share art-related experiences with other individuals). In addition, the study examines the role of culture (i.e., whether arts audiences belong to an individualistic or collectivistic culture) on the above-mentioned relationship.

Data were gathered through a field survey at a large contemporary art museum in Italy, conducted via a structured questionnaire and analyzed using multiple regression analysis.

Results indicate that both subjective and objective knowledge positively affect arts audiences’ propensity for experience-sharing, such as talking to others about a visit to an art gallery. Moreover, such effects appear to vary depending on culture: objective knowledge seems to positively influence experience-sharing when audiences belong to collectivistic cultures, whereas subjective knowledge seems to positively influence experience-sharing when they belong to individualistic cultures.

The study’s findings could motivate arts managers to emphasize the implementation of international communication strategies aimed at reinforcing arts audiences’ subjective and objective knowledge since these variables are positively associated with their propensity for experience-sharing with others.

This is the first study to assess the effects of objective and subjective knowledge, alongside the cultural dimensions of individualism and collectivism, on arts audiences’ propensity for experience-sharing.

The purpose of this paper is to examine a possible negative spillover effect in sports sponsorship to answer whether the sponsored team’s poor performance will have a negative effect on audiences’ trust in its sponsor’s brand. The authors further analysed whether the audience’s attitude towards the team plays a mediating role and whether the audience’s personality type (active vs passive) plays a moderating role in this negative spillover effect.

Three experimental studies were conducted with 380 Chinese undergraduates and MBA student participants over two years. The authors designed the experiment as a computer-mediated intervention in which good, poor and neutral performance groups were compared. After the respondents were exposed to the intervention, we asked them to answer questions using a computer terminal. We analysed the data from the three experiments through analysis of variance (ANOVA), regression analysis and a bootstrap.

The audiences who were exposed to a team’s poor performance condition reported less trust in the sponsor’s brand relative to those exposed to a good performance condition, and the brand trust was even lower than for those who were exposed to a control condition (no performance information). Further, the audience’s negative attitude towards the sports team mediated the negative effect of the team’s poor performance on its sponsor’s brand trust. The negative effect was more obvious for individuals with Type A personalities (active) than for those with Type B personalities (passive).

The prior literature has neglected a possible negative effect of a sports team’s performance on its sponsor’s brand trust. In particular, questions of whether, how and when this negative effect occurs are critical for sponsors, teams, and audiences. Since sports team sponsorship is burgeoning in China, the negative implications are unclear in this new context. Thus, the revelation that the negative spillover effects of a team’s poor performance on audiences’ trust in the sponsor’s brand provides two original contributions. First, the negative effect reveals value for multiple sponsorship stakeholders. Second, the Chinese context in this study adds value for future research and practice regarding both Chinese-foreign and domestic Chinese decisions.