theatron
The newspaper critic is dead - long live social media?
In a time when newspapers and their arts sections are declining, who helps people decide whether to book a theatre ticket? Who are the new influencers in the time of digital media? How can we interest old and new audiences in our productions? 10 important reads that outline how a new media landscape brings new challenges and opportunities to performing arts marketing.
Alex Ross examines the role of the critic today for the New Yorker:
Critics can open new worlds in the minds of readers; a passing phrase may spur a lifelong love. Almost everyone who cares about culture has had that kind of encounter with critics. Perhaps the profession is destined to fade away, but others will have to take up the critic’s simple, irritating, somehow necessary job: to stand in a public space and say, “Not quite.”
Jonathan Mandell considers the current condition of theatre criticism and theatre critics:
The definition of a critic is now in flux, due to the convulsive changes in journalism, and the rise of the Internet. It has been estimated that there are some 300,000 arts-related bloggers.
How do people go about deciding to purchase a ticket for a theatre show? This research paper gives some insights:
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.
Theater's Audiences Are Mostly Female: Why Not the Roles? asks Lauren Gunderson in the Huffington Post.
In addition to it being inconceivable in 2012 to not program any female playwrights (or really any year past 1913), it’s also just bad business. Just from a business model, look at Menopause: it’s a show that looked at who the main people buying tickets were, and allowed them to see themselves on stage — thus making millions and not only preaching and loving the choir, but getting tons of new patrons into the theater.
Ciceo Andreea from the Academia de Studii Economice in Bucarest analyses audience motivation:
Why do audiences choose to attend live performing arts events? How they decide for it? Which are the sources of information they use? What makes a live performing arts event be a pleasant experience? Or rather an unpleasant one?
If you are looking for ways to attract younger patrons let younger people run the campaign, writes Michelle Paul:
The more I explore this issue, the more I begin to think that the answer to this problem might be sitting in your office right now. How many people reading this either have entry- or mid-level coworkers who are 30 and under, or are yourselves those “emerging leaders”? My sense is that members of the next generation of arts marketers are ready and waiting for the chance to express their ideas and reach out to their peers to attract that younger audience everyone is looking for.
Younger audiences are a sexy topic to funders and board members, but there are a few things we all need to think about before launching our assault on the Gen X'ers and Millenials, writes Chad M. Bauman
Video + Facebook + Podcasts does not automatically = younger audiences. You should think of new media tools as just a means of communicating. Nothing more, nothing less. Like any other tool, you have to know how to properly use it, and then use it to put the right message in front of the right audience.
A US research paper on the influence of different channels on the ticket purchasing decision:
Professionals selling tickets to theatrical productions should use quotes and responses from social media and blogs when marketing tickets because audience members trust that these sources of information as much as newspapers.
What are the channels, tools and approaches used to communicate theatre to its potential audiences on social media? This presentation gives a good overview with many real-life examples.
Crispin Butteriss gives an outsider's perspective on digital engagement in the arts:
Can you generate interest, enthusiasm, learning (and theatre attendance) through responsive content? Can you harness local knowledge, interest, skills, creative potential? Can your community ‘perform’ and ‘direct’? What can theatres learn from TED?
