Ústav manažmentu kultúry a turizmu kulturológie a etnológie

It has been long known that using cultural heritage in marketing communication helps to create the positive and attractive image of cities and the whole country. Culture preserves national and local identity and at the same time prevents social exclusion. It shapes a society that is wise, open, tolerant and respects other cultures. Cultural attractiveness, in turn, of cities facilitates good relations with investors and stimulates the development of tourism. However, culture goods and services market is a  demanding one as the value of products of culture depends on tangible factors (books, sculptures, paintings, theatrical play as a service) as well as intangible (it is a source of ideas, symbols, cognitive systems, patterns of behaviors and linguistic norms). “Consumption” of culture goods and services allows for shaping individuals’ identity, internalization of norms and socially desired values, increasing esthetic sensibility. Considering such service as theatrical play we must acknowledge the strong advantage of intangible elements. Yet, we cannot forget about the tangibles: scenography, props, costumes, posters, programs. Magdalena Sobocińska points out to the fact that the specifics of culture market results from the functions of cultural products [2]. We can list the following:

• esthetic function (as products of the cultural sphere enable consumers to achieve satisfaction, provide opportunity for esthetical experience);

• communicative function (culture goods and services facilitate communication, create separate communication conventions, language of movie, theatre and literature characters penetrates and becomes part of the general, common language); impressive function (culture goods and services influence their audience, they often change attitudes, affect beliefs);

• cognitive function (products and services of culture become the source of historical, ethnographic, psychological knowledge, they serve more profound analysis of reality);

• integrative function (creating the sense of community in receiver-receiver but also in receiver-author relations);

• didactic function (a receiver – “consumer” becomes the object of educational activities, receives guidelines, patterns of behaviors);

• ludic function (culture goods and services provide entertainment, fun – this function is more and more frequently a dominant one);

• therapeutic function (products and services of culture are specific catharsis, purification, allow to forget, temporarily, about problems and to identify with characters).

The functioning of cultural institutions is influenced not only by behaviors of consumers-audience but also by the states’ cultural policy, audiovisual policy, socio-economic situation of the country, the development of information technologies, international distribution of cultural goods and services [3]. In this type of institutions it is necessary to determine the scope of activities and directions for development. Planning, organizing, implementation and control (strategic marketing planning) must take place. This may yield many benefits. It needs to be stressed that marketing is not a one-time promotional activity but a  process requiring the use of various instruments. It involves: product, price, distribution channels, promotion (that is advertising, public relations, promotion of sales) and people involved in the process of creating and making accessible culture goods and services. This paper describes marketing strategies used in the Polish theatres. In 2011/2012 season in Poland there were 677 theatres of different status and character [4]. Due to the character of their activity Polish theatres may be divided into: dramatic (92 theatres), puppet theatres(63), music theatres (32), dance and motion theatres (78) and other (412).The institutional public theatres (financed from the state and local governments funds) together with those functioning as the branches of city and municipal cultural institutions constitute 33,5% of all theatres. The rest are the theatres functioning under the regulations of the second and third sector of economy (private and non-profit theatres). In detail, there are 3 national theatres, 42 marshal, 70 city, 2 poviat, 136 private ones (and their number successively grows). Theatres are managed by associations of different types – 110, foundations – 39, departments of city cultural institutions – 98, departments of municipal cultural institution – 10, other organizations – 167. From September the 1stof 2011 to August 31stof 2012 there were 30  804 performances (4469 titles) attended by 5 934 411 spectators. Poland (according to the national census from 2011) has 38 501 000 citizens, thus at least 15,4% of population were in theatre in the previous season. In the last season (2011/2012) there were 1363 premieres which is 88 more than in the previous year. They were mainly contemporary texts (1014). Classical texts were performed 344 times. The premiere plays were held 11  249 times and were watched by 2 089 814 spectators. Among the premieres classics were the most popular: Stanislaw Ignacy Witkiewicz (9 premieres), Aleksander Fredro (8), Bolesław Leśmian (7), Gabriela Zapolska (6), Adam Mickiewicz (6), Witold Gombrowicz (5), Cyprian Kamil Norwid (4), Juliusz Słowacki (4), Janusz Korczak (3), Stanisław Wyspiański (3). Among the contemporary authors the most frequent names were: Michał Walczak, Sławomir Mrożek, Marta Guśniowska, Czesław Miłosz, Jan Brzechwa, Tadeusz Rózewicz, Malina Prześluga, Tomasz Man. The most popular foreign authors are: William Shakespeare (25 premieres), Anton Chekhov (11), Fedor Dostoevsky (7), Moliere (7), Hans Ch. Andersen (7), Grimm brothers (5), Astrid Lindgren (4), Nikolai Gogol (4), Bertholt Brecht (3). As for contemporary foreign authors the most frequent names are: Hanoch Levin (12), Ray Cooney (6), Ivan Vyrypaev (5), Michel Frayn (5), Eric-Emmanuel Schmitt (4), Nikołaj Kolada (4). According to the report in the Theatre Institute Yearbook, many Polish theatres “produce” road shows. The growing number of shows become “products” of private agencies and managers. No doubt, Polish theatres are getting more mobile with each year [5]. Last year they travelled with their shows the most often to Germany (50 times), France (27), Ukraine (20), Great Britain (19), USA (14), Czech Republic (14), Spain (13), Slovakia (12), Belarus (12), Italy (10), Lithuania (9), India (8). Polish plays were also presented in Albany, Australia, Austria, Belgium, Brazil, China, Denmark, Finland, Greece, Iran, Ireland, Israel, Japan, Canada, Columbia, South Korea, Luxembourg, Latvia, Norway, Portugal, Serbia, Slovenia, Sweden, Turkey, Hungary and the United Arab Emirates. Mobility of Polish theatres is supported through a  special program of the Ministry of Culture and National Heritage “Teatr Polska” (Theatre Poland) which is organized and coordinated by the Theatre Institute. Undoubtedly, each form of supporting and promoting creativity and high quality goods and services of culture is valuable. The development of private theatres, the increasing number of private theatrical initiatives, changes in the cultural market environment necessitate considering marketing principles also in the area of theatrical activities.

Who is the present receiver of offers presented by theatres as the institutions of culture? No doubt, they are individual and institutional audience, local and national but also (what indicates the abovementioned report) international community. They are, as well, financial means decision-makers  –  authorities of the central, regional, local level (who can support certain projects). We cannot forget about media representatives, critics who can distribute information about a theatre and its offer (it is a mutual relation – writing about theatres, reviewing shows critics or journalists have work). In theatres as cultural institutions different relations, interactions and exchanges can be observed [6]. The receivers of theatre shows  –  in exchange for the service (theatrical play) give their time, attention, bestow trust in “producers” and pay for the ticket. To satisfy the audience, their cultural competences, esthetic taste and sensibility needs to be analyzed in advance. Other marketing activities are addressed to theatre patrons, other to those who do not feel the need to participate in higher culture; other to people who, for some reasons, have to withdraw from participation. The last group also requires special approach. People resign from participating in theatre shows from financial reasons (here, the large part of theatres reacts with introducing discounts for the retired, cheaper tickets for mid-week shows, subscription cards and other discounts), due to architectural barriers or simply lack of comfort (almost all Polish theatres have already been adapted to the needs of the disabled, many of them made necessary repairs, upgraded seats). Young mothers often give up spending time in theatre. Thus, for two years in many Polish theatres provide, parallel to the certain shows, the care of animators who facilitate interesting activities for children in different age groups. While planning repertoire, preparing shows and their promotion the needs of institutional receivers should also be analyzed (companies, schools, foundations), their motivation to purchase certain goods and services should be determined. Surely, it is worth to implement the concept of relationship marketing in theatres, which involves building long-lasting relationships between an institution and its customers, understanding customers’ needs and wants, and developing cooperation with them. Some Polish theatres cease to be closed institutions that offer a single service, that is theatrical shows. They enable their audience-receivers close contact with the work  -touching props, trying out costumes and masks, visiting backstage, talking to actors, sound engineers, prompters, costumists; young spectators can try to play theatre – try pantomime, puppet play. It gives the opportunity to touch the substance, to materialize the non-material. It allows for the active perception and co-creating the artwork or experiencing the stages of its creation.

Marketing focuses not only on receivers but also on theatre staff. Satisfied personnel can surely enhance the positive image of institution. Last year there were 4  582 employees in Polish public theatres, among them: chief executives, program consultants, play writers, literature directors, secretaries, composers, music directors, ballet directors, choir directors, music consultants, choir conductors, directors, scenographers, choreographers, actors, puppeteers, theatre education specialists, assistants, cloakroom attendants, cashiers etc. Polish public theatres are forced to obtain non-governmental funding for different initiatives. The large group of executives prepares offers for sponsors. The growing number of companies become aware that sponsoring a  theatre play may strengthen their positive image, brand (by evoking proper associations). Sponsorship of street shows allows for reaching the mass audience in an unconventional way. Some theatres obtain financial funds through cooperation with various companies within product placement, that is, placing certain products in their shows on the commercial basis (as props). Product placement becomes ever more attractive also due to the growing aversion of audience towards traditional advertising. The use of marketing principles in theatres enables changes beneficiary for both sides. The activities that need to be included in the customer-receiver value based management are [7]:

• defining values for customers

• shaping values

• communicating values

• offering values to customers.

Within “defining values for customers” theatre managers must answer the question: to whom they address the offer (children? young generation? educated people with high cultural competencies? mass audience looking for entertainment?). Service-theatre play of such type needs to be guaranteed that customers-receivers recognize the surplus of benefits (fulfillment of needs) over the financial and non-financial costs (time spent). Within “value shaping” activities necessary to create values need to be undertaken, e.g. cooperation with the best actors, directors, costumists; ensure the preparation of decorations, props etc. One can, of course, minimize costs and ensure the possibility of exchange between partners (for example, borrowing expensive props or costumes). In shaping values mass individualization is also important, that is presenting the significant number of receivers with products adopted to their needs and wants. In many Polish theatres there is a possibility to order a show on the certain week day, e.g. for school kids (aligned with a season, for example Christmas play, shows for Santa Claus Day or New Year’s Eve). There are also attempts to use new technologies in the field of culture which gives a chance to win young audience. The example may be several Polish theatres that have launched live on-line transmissions of their morning plays. Thus, children in schools (also the small ones, located in rural areas) may (staying in the school space) benefit from the service-theatre play. This way, we can win future receivers-consumers and guarantee (with relatively small financial input involved) advertising in all media (like news services which note very high viewership). The tools for communicating values include, among others: public relations, advertising, sales promotion, well designed website (with possibility for on-line ticket booking), well arranged interiors of the theatre building, eye catching posters, programs, invitations.

An indispensable element of promotion of Polish theatres is the Internet. Each theatre has its own direct e-marketing tools such as: website, e-mailingto potential or registered receivers. They also use Web 2.0 systems as they allow for free creation of various types of social services like Facebook or writing a  blog. Facebook is, for example, a place for using the elements of sales promotion (competitions, discounts etc.), informing about new plays, exchanging opinions of spectators and theatre representatives. Blogs, in turn, are to strengthen the brand of a theatre. They contain many up-to-date information about plays and important events, actors, functioning of a theatre and announce various competitions. Merchandising (meant as the way of promotion of services and products in the place of sale and the closest environment) is also used by the Polish theatres. There are display cases with posters, advertising stands with brochures in front of theatre buildings but lighting or background music (referring to certain play) heard in the foyer or outside the theatre also draw effectively draw people’s attention. Sometimes in from of the theatre building actors dressed up in costumes, with props inform passersby about the show, shaping at the same time the positive image of their theatre. It seems that the line between merchandisingperformed by actors and the play itself obliterates.Advertising is also in use  –  the promotion instrument that directly informs and encourages receivers to use the service, that is to watch the play. Due to high costs, TV commercials are not considered too often. Instead, there are ads in press and radio  –  specially in local broadcasts. But the primary means are posters and billboards. Theatrical posters have a very reach tradition in Poland, some of them are real works of art, created by the valued Polish artists. The last stage of value based management is offering the value in the right time and place, under the conditions advantageous for the receivers [8]. Increasing the value offered customers-receivers-spectators is done through the following:

• improvement of the benefits, e.g. longer opening hours – night shows (for example on New Years’ Eve), adjusting the time of shows to the expectations of certain groups (morning plays for school and kindergarten children, afternoon ones for seniors);

• expanding the benefits, for example organizing birthday parties for children (with guided tours around the theatre after the play, visiting backstage, prop-room, playing with actors and food service in theatre restaurant); providing transport for the disabled; organizing theatre classes for primary and secondary school students; organizing theatre workshops; inviting pupils and students to watch rehearsals and play preparations; meetings with actors and directors; creating websites – platforms for exchange of opinions regarding “theatre”, publishing play reviews, interviews with actors.

Increasing the value should take place at different stages of contact with theatre as the institution of culture. Starting from the access to information about the offer (e.g. presented in an interesting and reliable manner in media or on posters, leaflets), through expanding distribution channels (theatres totally withdrawn from the practice of selling tickets only in certain hours and only in theatres’ ticket offices), providing transport to the theatre (with labeled theatre buses), ensuring enough parking space around the theatre, to proper, professional service at the entrance, in cloakrooms and theatre cafes. One cannot forget about the audience’s comfort (comfortable seats, proper lighting of the scene, quality sound, proper temperature and air conditioning, sufficient number of restrooms, availability of theatre programs). Ever more theatre managers understand the necessity to conduct marketing research on:

• operating conditions (analysis of institution’s organization [9]; financial, material and human resources of a theatre and studying of external conditioning – state’s cultural policy, behaviors, motivations and needs of Polish audience, competitors, e.g. offers of neighboring entertainment centers, cinemas or other theatres);

• studying the instruments for market influence (connected with service, price, promotion, changes in repertoire, e.g. due to the interest of certain group exclusively in entertainment, introducing comedy repertoire, casting celebrities);

• studying the results of activities (ticket sales results and the way receivers-spectators, critics and media perceive a theatre) [10].

Today it is necessary to introduce new concepts of theatre management, recognizing the needs and motivations of receivers groups (and realization of the “right” cultural projects), creating the model of spending leisure time on contact with art, using new technologies, creating plays to be performed on international scenes, promoting new, original theatrical forms. One thing to remember – culture is sacrum but is also productum [11]. Of course, theatres will never (hopefully) develop offers dictated solely by the economic objectives but they will continue to care about the high artistic value of their works.

The exemplary opportunities. threats and strengths and weaknesses of cultural institution – theatre

Source: M. Sobocińska: Zachowania nabywców na rynku dóbri usług kultury. Warszawa 2008, p.64.

Resumé (M. Dubská):

Príspevok sa zaoberá marketingovými stratégiami uplatňovanými v  poľských divadlách. Autorka poukazuje na  špecifiká kultúrneho trhu, predstavuje základné princípy aplikovania marketingového konceptu v  divadlách a  zdôrazňuje dôležitosť marketingového výskumu v  prostredí kultúrnych inštitúcií. Marketing je v  príspevku chápaný ako proces využívania 5 nástrojov, medzi ktoré zaraďuje produkt, cenu, distribučné kanály, propagáciu a ľudské zdroje, začlenené do procesu tvorby a sprístupňovania kultúrnych tovarov a služieb. V súlade so Sobocińskou rozoznáva 7 funkcií kultúrnych produktov: estetická funkcia (poskytovanie estetického zážitku), funkcia komunikácie, funkcia pôsobenia (schopnosť ovplyvňovať názory, hodnoty a postoje publika), kognitívna funkcia, integračná funkcia (vytváranie vzťahov recipient – autor – recipient), didaktická funkcia, terapeutická funkcia a  napokon funkcia zábavy a  relaxu. Práve princíp entertainmentu sa dnes čoraz častejšie priorizuje a výrazne tak determinuje uskutočňovanie ostatných funkcií.
Marketingové stratégie v prostredí kultúrnych inštitúcií sa vyznačujú istými špecifikami. V  príspevku autorka popisuje stratégie uplatňované v  poľských divadlách, pričom vo výskume rozlišuje verejné divadlá (33,5%) a súkromné divadlá (v  treťom a  podnikateľskom sektore). Uvádza napr. celkový počet predstavení (30804), počet inscenácií (4469), presný počet divákov (5 934 411) či počet premiérových hier (1363). Poukazuje aj na  skutočnosť, že čoraz viac divadiel realizuje hosťujúce predstavenia, ktoré sú ponúkané ako jeden z  produktov v  ponuke súkromných agentúr. Na  Slovensku bolo v  minulom roku realizovaných 12 výjazdových predstavení poľských divadiel. Zaujímavá je zmienka, že mobilita divadiel je v Poľsku podporovaná z vládou dotovaného programu Teatr Polska a jeho cieľom je popularizovať poľské divadlo v Európe. V  príspevku sa autorka ďalej venuje otázkam, ktoré sú predmetom častých diskusií v  teórii i  praxi aj na  Slovensku. Kto vlastne tvorí súčasnú divácku bázu? Komu a  ako má adresovať divadlo svoju “individualizovanú ponuku”? Čo očakáva súčasný divák, aké má potreby a aká je jeho motivácia? Na druhej strane sa zmieňuje aj o tých, ktorí z finančných, ale najmä socio-kultúrnych dôvodov neprejavujú záujem o participáciu na kultúrnych aktivitách (napr. hendikepovaní alebo mladé mamičky s deťmi).
Divadlo si s recipientom (divák, zamestnanec, sponzor alebo partner) musí vytvárať a udržiavať otvorený vzťah. Divadlá už dnes ponúkajú rôzne pro-zákaznícky orientované produkty a  služby, napr. možnosť vyskúšať si kostým, porozprávať sa s  hercami, prezrieť si divadelné zákulisie či v  reálnom čase ovplyvňovať scenár hry. Dávajú tak možnosť dotknúť sa nehmotného, materializovať nemateriálne. Marketing divadiel sa súčasne orientuje aj na  samotných zamestnancov, ktorí spoluvytvárajú pozitívny imidž inštitúcie. V  minulom roku bolo v poľských divadlách zamestnaných spolu 4582 kreatívnych a administratívnych zamestnancov. V poslednom období boli do divadelnej praxe zavedené nové postupy, ktoré by mali napomáhať pri dosahovaní ekonomických a mimoekonomických cieľov. Možno spomenúť sponzoring, product placement (umiestňovanie komerčných produktov v divadelných hrách), predaj reklamných predmetov, on-line rezervačný systém či komunikáciu na  internete (e-mailing, prítomnosť na  sociálnych sieťach, blogovanie). Mnohé divadlá poskytujú firmám či inštitúciám možnosť objednať si konkrétne predstavenie na určitý deň. Nástrojom pre pritiahnutie mladého publika sa majú stať najnovšie technológie, ktoré umožňujú o.i. realizáciu živého prenosu z  divadelných predstavení (tzv. live stream). Tieto sa využívajú dokonca už aj v vyučovacom procese a žiaci tak v rámci niektorých predmetov môžu z didaktických dôvodov sledovať divadelnú hru on-line priamo zo školskej lavice.
Súčasné prostredie je pre kultúrne inštitúcie pomerne problematické. Prináša nielen nové výzvy, ale aj možné ohrozenia. Musia sa konfrontovať nielen s  relatívne slabým postavením kultúrnych potrieb v celkovej hierarchii životných potrieb, ale najmä s dynamicky sa rozvíjajúcimi tzv. vonkajšími konkurentmi, ktorí sa podobne ako divadlo usilujú získať svoj podiel na  fonde voľného času ponúkaním substitučných tovarov a služieb. V dôsledku tejto zmeny sú divadlá nútené používať všetky dostupné nástroje (často kontroverzné či hraničné), ktoré sú schopné zabezpečiť absolútne uspokojenie potrieb existujúceho diváka. Prioritou sa stáva maximalizácia hodnoty, ktorú má hosť získať za  zaplatenú vstupenku. Napriek rozdielnym názorom na  túto problematiku je zrejmé, že v  blízkej budúcnosti musia vzniknúť nové koncepty manažmentu divadiel. Je potrebné rozpoznať potreby a motiváciu rôznych cieľových skupín, aplikovať nové technológie a  prístupy, otvárať nové divadelné formy a  spoluvytvárať model, v  ktorom je spoločnosť ochotná tráviť voľný čas kontaktom s umením. Kultúrne inštitúcie by však napriek diktátu ekonomicky orientovaných cieľov nemali rezignovať aj na napĺňanie svojich ostatných funkcií.

Notes:

[1] Katarzyna Walotek-Ściańska  –  Vice Head of Institute of Journalism and Social Communication in the Humanitas University in Sosnowiec, Head Editor of “Magazyn Kultury Most”, Member of the European Academy of Management, Marketing and Media in Bratislava, author of publications Homo poeticus, W świecie reklamy i  reklamożetców and many academic papers on advertising and modern communication.

[2] The analysis of functions performed by culture products has been conducted on the basis of the comparisons of Magdalena Sobocińska. See: SOBOCIŃSKA 2008.

[3] See: SOBOCIŃSKA 2008:20.

[4] All statistical data on the activities of Polish theatres, numbers of performances, premieres, titles are cited after the “Theatre in Poland 2013” – the yearbook of the Theatre Institute.

[5] The importance of marketing communication from the intercultural perspective is described by Katarina Fichnová. See: FICHNOVÁ 2009:570-589.

[6] More about relations and types of exchange of tangible and intangible values between subjects providing culture goods and services and their audience can be found in Magdalena Sobocińska’s work. See: SOBOCIŃSKA 2008:40.

[7] See: SZYMURA-TYC 2006:74-75.

[8] SOBOCIŃSKA 2008:46.

[9] See also the analysis of organization of non-commercial institutions – social assistance institutions and marketing tools and strategies used in that area (SZYSZKA 2013).

[10]  See: MAZUREK-ŁOPACIŃSKA 2005.

[11] PUCHAŁA 2002

Literature:

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MAZUREK-ŁOPACIŃSKA, K. (red.): Badania marketingowe. Teoria i praktyka. Warszawa 2005.

PUCHAŁA, J.: Kultura a transformacja Polski. In: Szabmurg, J. (ed.): Kultura i przemysły kultury szansą rozwojową dla Polski. Gdańsk 2002.Rocznikiem Instytutu Teatralnego „Theatre in Poland 2013”

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