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1.
Demand for and productivity analysis of Turkish public theater 总被引：1，自引：0，他引：1
We estimate a demand function for live theater provided by the General Directorate of State Theaters in Turkey. We show that demand is more elastic in less developed cities, that attendance is not significantly affected by various qualitative variables, and that the government's practice of offering free passes to government officials is an ineffective way of increasing paid attendance. Comedies and musicals both show significantly higher attendance. Having a Turkish author does not significantly affect attendance. Having a known author significantly increases attendance for more developed cities but not for less developed cities. Being the opening season significantly reduces attendance in less developed cities but has no effect in more developed cities. We also present evidence of inefficiency in state theaters in Turkey through a performance of plays equation in which we evaluate the determinants of the number of performances per play. 相似文献
2.
Andrea Baldin Trine Bille Andrea Ellero Daniela Favaretto 《Journal of Cultural Economics》2018,42(4):677-700
Performing arts organizations are characterized by different objectives other than revenue. Even if, on the one hand, theaters aim to increase revenue from box office as a consequence of the systematic reduction in public funds; on the other hand, they pursue the objective to increase its attendance. A common practice by theaters is to provide incentives to customers to discriminate among themselves according to their reservation price, offering a schedule of different prices corresponding to different seats in the venue. In this context, price and allocation of the theater seating area is decision variables that allow theater managers to manage their two conflicting goals to be pursued. In this paper, we introduce a multi-objective optimization model that jointly considers pricing and seat allocation. The framework proposed integrates a choice model estimated by multinomial logit model and the demand forecast, taking into account the impact of heterogeneity among customer categories in both choice and demand. The proposed model is validated with booking data referring to the Royal Danish theater during the period 2010–2015. 相似文献
3.
4.
红星剧院在文化体制改革中脱颖而出,被誉为“艺术红星”。在市场动作中频频出牌,创立了杭城演艺经营的新样板;作为一个剧院,他们转换“角色”,积极探索“请进来”和“走出去”,开创国际文化流新格局。 相似文献
5.
This paper combines perspectives on nonprofit organizations, clubs and club goods, demand for performing arts, and demand for charitable contributions to consider relationships between nonprofit organizations in the performing arts and their patrons. A broad view is taken of factors influencing demand for club goods, charitable donations, and for the live performing arts. These are integrated in a model of demand for the outputs and services of nonprofits in the performing arts. Data from a single institution is used to test hypotheses. Conclusions are drawn for organizational policy and economic theory. 相似文献
6.
Live and prerecorded popular music consumption 总被引：1，自引：1，他引：0
Changing consumption habits have rearranged the popular music market in the last decade, and a pattern in which live music
attendance gets an increasing share of the market has emerged. This work analyzes the demand for the popular music sector
considering its double dimension as supplier of live concerts and prerecorded music. We use the 2006/2007 wave of Spain’s
Survey on Habits and Cultural Practices, and estimate a bivariate probit model for attendance to live concerts and the purchase of prerecorded music. Results allow
us to describe the profile of the average and frequent consumer in both markets, which shows some similarities—gender effects
and the role of cultural capital—but also striking differences—time restrictions and relation to economic activity, and the
use of technology. Finally, we find evidence of demand complementarities, with a direct causal link from prerecorded music
to live attendance that helps explain recent institutional changes. 相似文献
7.
While there is a fair amount of work on determinants of demand for the live performing arts, results have often been contradictory
with little explanatory power. This may be because of the difficulty in describing the attributes of a performance, particularly
in terms of its quality, and the heterogeneity of consumer preferences. This article uses conjoint analysis, also called choice
experiments, to investigate the impact of the attributes of live theatre performances on demand, using data collected from
483 randomly chosen attenders at live theatre performances at the 2008 South African National Arts Festival. Attributes include
the type of cast (professional, semi-professional or amateur), reputation of the producer/director, the context or setting,
production type and ticket price of the show. Results largely support the a priori expectations based on the results of other
demand studies. For example, it is found that the age of consumers affects the type of show chosen, that utility and willingness
to pay increase for shows with professional and semi-professional casts and that 93% of the potential audience prefer shows
with a South African context. It is concluded that the method could prove useful to both event organisers and policy makers,
especially where the goal is to broaden access to the arts.
相似文献
| J. D. SnowballEmail: |
8.
Mitsuru Sunada 《Journal of Cultural Economics》2012,36(3):179-206
This study assesses the 1951 Toho?CSubaru antitrust merger case in the Japanese movie theater market. Using information regarding the location of theaters in the Tokyo metropolitan area, I examined the relationship between the number of attendees and the structure of the local market competition: a regression equation relating to the number of attendees and the local market structure was derived from a model of product differentiation, which incorporated the features of a movie theater market. The results revealed that nearby rival theaters had negative effects on other theaters?? attendance numbers, and these effects did not dissipate even where there was 10?km between each theater. Based on empirical results, it appears that the Tokyo High Court and the competition agency defined the geographic movie theater market as being smaller than it actually was. The results of this study suggest that the application of econometric analysis, combining geographic information, is useful in merger reviews of retail industries, such as movie theaters. 相似文献
9.
Klaus-G. Hinzen Stephan Schreiber Sebastian Rosellen 《Journal of Cultural Heritage》2013,14(5):424-430
The archaeological site Pinara, southwest Turkey, which includes several remarkable objects of cultural heritage, has been the focus of several previous archaeoseismic studies. One of these examined the setting of the Roman theater in the east of Pinara by a lidar survey. A gross inclination of the stone rows of the auditorium of 0.81° towards N 314°E was interpreted as a consequence of recent coseismic tectonic movements. A new survey of the theater with a terrestrial phase laser scanner is the basis for a model with 15 times higher resolution and 28 times more data points. Parallel to the fieldwork in this study, the process and accuracy of the leveling of the 3D point clouds produced by the scanner was tested in a series of experiments. Based on the orientation of the blocks forming the seats of the theater, we suggest six sections with changing average inclination of the seats and a fault line separating a northern and a southern section. While the previously found overall inclination of the auditorium is confirmed by the new model and the dip direction agrees, the inclination is 0.58° compared to previously determined 0.81°. The almost perfect increase of inclination with the height of the first 10 entire seating rows and the nearly constant inclination from row 11 onward, makes systematic measurement errors during the construction a possible cause. This is an alternative scenario to the interpretation of a coseismic displacement of the conglomerate block on which the theater was built. 相似文献
10.
This study offers a preliminary exploration of repeat consumption of identical cultural goods, specifically moviegoing. The
term ‘identical’ in this study refers to cases where, for example, individuals view the same film at a movie theater, in a
short time interval, on more than one occasion i.e. experiencing the cultural good in precisely the same format. It is not
meant to embrace the case of individuals who, for example, view a particular film at a movie theater and then see it some
time later in another format, such as via a DVD player. The repeat viewing phenomenon is discussed and then considered empirically.
Films aimed predominantly at children attract the highest number of repeat views, while those aimed at an older audience attract
significantly fewer repeat views. The profile of repeat viewers of the 10 films which attracted the greatest number of repeat
viewers was subject to more detailed scrutiny. In general, repeat viewers tend to be younger but the gender balance differs
markedly according to film content.
An earlier version of this article was presented at the 3rd European Workshop on Applied Cultural Economics, University of
Oviedo in Aviles, Spain 14–16 June 2007 and the 9th International Conference on Arts and Cultural Management (AIMAC), Fundación
Universidad Empresa (ADEIT), Valencia, Spain 8–11 July 2007. We are grateful for comments received and the usual caveat applies. 相似文献
11.
最想唱好中国的原创作品
2007年12月24日,“今夜星光灿烂”音乐会在北京新落成的中国国家大剧院举行。17位享誉海内外的歌唱家一一亮相,为国家大剧院的首场歌剧专场演出打造出了璀璨夺目的星光。他们当中有张建一、廖昌永、戴玉强、袁晨野、幺红等的身影,还有从旧金山湾区飞回祖国的女高音歌唱家高曼华。 相似文献
12.
8月11日,孟京辉出席2013杭州国际戏剧节新闻发布会。"我真的特别高兴,在美丽的城市干一件美丽的事。"作为杭州国际戏剧节的发起人和艺术总监,他毫不掩饰对杭州和戏剧的挚爱。孟京辉说:"开幕演出很重要。"让人想不到的是开幕大戏选了浙江昆剧团演员杨崑和现代舞演员小珂合作的《游园·今梦》。这出戏居然放在西湖边的钱王祠上演,依托西湖园林的优美环境,凸显"游园"的戏剧情景。孟京辉为戏剧节带来了许多中外好 相似文献
13.
Masaki Katsuura 《Journal of Cultural Economics》2012,36(1):49-65
This paper empirically examines how household cultural expenditures correspond to business cycles in Japan. Since income level
is among the most important determinants of cultural demand, and income fluctuates with business cycles, examining the relationship
between cultural expenditures and business cycles is useful, particularly in discussing income elasticity of cultural demand.
The data used are monthly household expenditures for movies, live performances, and cultural establishments in the Family
Income and Expenditure Survey. Turning points for cultural expenditures and related indicators are determined by estimating
the regime-switching model. The lead–lag relationship between these series and the reference dates of Japanese business cycles
are analyzed. The result indicates that cultural expenditures fluctuate cyclically with unstable leads and lags corresponding
to business cycles. In addition, cultural expenditures adhere to smaller specific cycles within officially designated expansions,
which imply that income elasticity has not been constant during past business cycles. 相似文献
14.
2012年2月7日,以“青春·使命”为主题的全国第三届大学生艺术展演活动在杭州开幕。来自全国各省、市、自治区的31个代表团在6天的时间里参加声乐、器乐、舞蹈和戏剧4个项目共172个节目的现场展演。活动期间还举办了艺术作品展览、高校艺术教育论文报告会等,图为河北省代表团的大学生在开幕式上表演。 相似文献
15.
According to many theater critics not only does Broadway produce too many revivals but there is an increasing tendency to
produce revivals in preference to original shows. Nonparametric techniques are used to test for a trend in the proportion
of new shows accounted for by revivals. These tests indicate that the proportion of revivals is indeed increasing over time.
Using nonparametric techniques again to test for stochastic dominance it is difficult to argue that Broadway produces too
many revivals. Although original productions on average run for longer, revivals are much less likely to close after only
a small number of performances. 相似文献
16.
Determining heterogeneous behavior for theater attendance 总被引：2，自引：1，他引：1
Victoria Ateca-Amestoy 《Journal of Cultural Economics》2008,32(2):127-151
In this paper we propose and estimate a model of theater participation using the data contained in the 2002 Survey of Public Participation in the Arts from the USA, a dataset widely used to study the determinants of cultural participation. Our contribution relies on the use
of an estimation technique that respects the count data nature of the attendance variable (number of theater performances
that an individual attended) and allows for heterogeneous behavior. By using a Zero Inflated Negative Binomial Model, we can
characterize two distinct behaviors for the observable attendance: a group of never-goers (who never participate) and a subpopulation
that has a positive probability of attending. For this latter group, we can estimate the effect of certain personal variables
on the probability of highest frequency. The results suggest that the proposed model is appropriate for estimating cultural
participation.
相似文献
| Victoria Ateca-AmestoyEmail: |
17.
Digital broadcast technologies have expanded the virtual capacity of live performing arts venues, but they have also raised concerns about possible cannibalisation of box office revenues. We report the results of a quasi-field experiment involving the Royal National Theatre’s live broadcasts of theatre to digital cinemas in the UK and find that, if anything, live broadcasts generate greater, not fewer, audiences at the theatre. 相似文献
18.
Marta Zieba 《Journal of Cultural Economics》2016,40(2):191-221
This paper investigates the impact of tourism flows on demand for large regional and city theatres in Austria over the period from 1972 to 2011 (39 years). The results are obtained by applying an aggregated theatre demand function for both residents and tourists. The elasticity of theatre attendance in response to tourism is estimated along with other standard demand variables such as ticket price and income. The quality factors and theatre-specific effects are also included. The tourism flows variables are derived using detailed data set on tourist arrivals and their overnight counts, and they are also split between domestic and foreign tourists. To measure the impact of tourism flows on theatre demand, three alternative theatre markets specifications are considered. The total elasticity of attendance per capita in response to tourism is estimated between 15 and 20 %, indicating that increasing the number of arrivals by two tourists per resident in the relevant market would generate an increase in theatre attendance by 581–680 thousand visitors per year. The role of tourism flows is found to be particularly important for attendance at opera, operetta and musicals as opposed to attendance at drama performances. The analysis also reveals that foreign, non-German tourists have a positive impact on theatre attendance, whereas domestic tourists do not contribute significantly to higher demand for Austrian theatres. 相似文献
19.
This paper analyzes the productivity development in the German public theater sector for the seasons 1991/1992 to 2005/2006.
Using a stochastic distance frontier approach that allows decomposing total factor productivity change into different sources,
we examine (a) whether Baumol’s cost-disease hypothesis is valid in this sector and (b) if so, whether any negative influence
of the cost-disease effect on productivity can be compensated by efficiency gains. The findings indicate an increase in real
unit labor cost as a result of rising wage rates and thus do support the cost-disease hypothesis. Further, increasing returns
to scale are observed for the majority of the theaters, implying that significant efficiency gains can be realized by the
exploitation of scale economies. However, because of the increasing unit labor cost and an increasing scale inefficiency,
we find an overall decrease in average productivity of about 8% within the sample period. 相似文献
20.
Weinberg Charles B. Otten Cord Orbach Barak McKenzie Jordi Gil Ricard Chisholm Darlene C. Basuroy Suman 《Journal of Cultural Economics》2021,45(2):239-262
The recent rise of digital technology in the delivery of entertainment casts doubt among industry stakeholders on whether movie theaters will continue to be the primary channel of the release of motion pictures. Despite the growth of competing outlets due to the spread of digitalization, we argue that the movie theater industry may benefit from digital technologies as well. Enhancing the cinemagoing experience, better matching of the cinemagoing experience to consumer preferences, and improving capacity utilization are crucial if movie theaters are to continue having a pivotal role in the distribution of filmed entertainment. In particular, our data analysis demonstrates that the use of new digital technologies and “big data” may be one way to turn the current threats into future opportunities for movie exhibitors. Therefore, managerial strategies that aim to raise the value proposition of theaters by enhancing the cinemagoing experience, and that boost adaptability to rapidly changing consumer preferences about how and when they view filmed entertainment, ought to be studied and implemented.
相似文献