THE THEATRICAL PUBLIC OF NEW RUSSIA

1. Vladimir Nemirovich-Danchenko Moscow Art Theatre School The State Institute for Arts Studies Alexander Ushkarev THE THEATRICAL PUBLIC OF NEW RUSSIA Some results of the sociological surveys Moscow, 2010

2. Subsidies Why do we do it? “Does the public exist for the theatre or the theatre exist for the public?” Incomes The attempts to increase a sales volume and growth of theatres’ own incomes become the dominant trends in commercial activity of the theatres

3. What is the theatrical public?

4. The typology of the theatre audience The theatre audience is not homogeneous People do not behave identically

5. The typology of the theater audience S-1 For this part of the buyers all the artistic products are thesubstitutes S-2 The audience preferring theater to any other kinds of arts or other forms of entertainment S-3 The motivation of their cultural choice is already associated with the need to go to a specific theater S-4 Particular interest in a specific plays S-5 Individual concern to the creators of the performance – its directors and performers

6. Consumer groups at the theatre market The typical structure of the theatre market

7. Consumer groups andthe socio-demographic characteristics of the theater audience

8. The structure of the audience andthe consumers’ activity The higher the selectivity of the consumers so fewer the consumers and the more often they visit the theatre The theatre goers of the first two groups (about 62% of the theater audience) do not feel any dependence from the specific theatres or the creators.And consequently switching to substitutes for theatre is the most probable reaction of these consumers to a rise in prices. About 38% of theater goershave the determined theatrical requirements. This tendency creates conditions for monopolization of an artistic product.

9. Motivation for visiting the theatre Desire to rest and spending time with pleasure is the main reason for visiting the theatre today

10. Repertoire preferences The Moscow Art Theatre public Theatre public in general Participation of popularactorsis the main repertoire preference for all groups of consumers especially for groups with low selectivity. Consumers with high selectivity have a more variety and balanced structure of preferences.

11. Pricing policy of the Russian theatres Why the theatre leaders were not ready to raise in prices for theater tickets (The results of theatre leaders’ survey, 1994) About 85% of consumers was ready to pay a higher price

12. Pricing policy of the Russian theatres Dynamics of the average price of attendance (rubles) 45RUR ≈ £1

13. Pricing policy of the Russian theatres Dynamics of the average prices of attendance in some of Moscow theatres

14. Consumer groups & Marketing elements The information channels and the channels of ticket purchase Audience of The Moscow Art Theatre 2001-2005 (Proportionofpositiveresponses)(%) The opinion of the friends and relatives is the basis of the information component of the marketing strategy of the Russian theatres today The main channel of ticket purchase is the theatre box office. Total significanceof Internet in ticket purchase is stillnegligible

15. Consumer groups & Marketing elements Consumer groups&Information channels Audience of The Moscow Art Theatre 2001-2005. (Proportionofpositiveresponses)(%) To expand the audience we can rely on “the viral marketing”. To improve the audience structure we should use targeted advertisement in special theatrical journals.

16. The theatrical public of new Russia THANK YOU!