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代写澳洲留学作业:Marketing of stage art products

时间:2018-10-26 16:38来源:未知 编辑:quanlei_cai 点击:
导读::这是一篇市场营销专业的澳洲作业范文,讨论了舞台艺术产品的营销。舞台艺术的服务性质,由于表演者的水平千差万别,其市场价格会差之千里。对于这样一种形式的市场产品,其销售从来都是既艰难又不稳定的。它的不确定因素极多,其不可预见性和弹性都要大的多。舞台艺术可以借鉴一般的企业营销理念和方法,创造积累自己的方法,树立自己的行销理念。 The production and marketing of various artworks are no different from ordinary commodities, especially the physical artworks. Apart from the character of the artworks themselves, they are almost the same in the market. But the stage art has the unique n
导读::这是一篇市场营销专业的澳洲作业范文,讨论了舞台艺术产品的营销。舞台艺术的服务性质,由于表演者的水平千差万别,其市场价格会差之千里。对于这样一种形式的市场产品,其销售从来都是既艰难又不稳定的。它的不确定因素极多,其不可预见性和弹性都要大的多。舞台艺术可以借鉴一般的企业营销理念和方法,创造积累自己的方法,树立自己的行销理念。
 
The production and marketing of various artworks are no different from ordinary commodities, especially the physical artworks. Apart from the character of the artworks themselves, they are almost the same in the market. But the stage art has the unique nature, therefore his production marketing behavior also has the characteristic.
各种艺术品的生产和销售与普通商品,特别是实物艺术品没有什么不同。除了艺术品本身的特征外,它们在市场上几乎相同。但舞台艺术具有独特的性质,因此他的制作营销行为也具有特色。
Stage art is different from works of state in two aspects. One is its service nature, the other is its immediacy.
舞台艺术在两个方面与国家作品不同。一个是它的服务性质,另一个是它的即时性。
The service nature of stage art, because the level of performer varies greatly, its market price will vary greatly. This nature of service is restricted by human emotion and emotion, as well as cultural background, artistic level and site hardware.
舞台艺术的服务性质,因为表演者的水平差异很大,其市场价格会有很大差异。这种服务性质受到人类情感和情感以及学问背景,艺术水平和场地硬件的限制。
The so-called immediacy, that is, it is ephemeral, it leaves only impression, is emotion and emotion, remains in memory, what the buyer enjoys, is only the emotional infection on the scene, is a pure spiritual enjoyment, is the aesthetic enjoyment which cannot be touched or left.
 
Sales of such a market product have always been difficult and volatile. It has so much uncertainty that its approach is very complex. The art performance group's marketing problem, than the general enterprise product marketing is more difficult, its unpredictability and flexibility is much greater.
 
Aesthetically, different levels of art have different levels of audience, of course, there are different levels of art groups to occupy. This type of market segmentation is important to marketers and to group leaders. Art marketers, while acknowledging the significance of the distinction, would like to see the boundaries not so dead, but to try to get them close to each other, because only in this way can they expand their audience.
 
Whether foreign or Chinese, performing arts groups generally receive funding from three sources: the government or sponsor; the sponsor; and the box office. That is to say, the minimum box office income should occupy a third of the share.
 
In addition to seeking government subsidies and social support, arts administrators must devote a considerable amount of energy to research and increase box office revenue.
 
For art itself, both popular art and high art must emphasize quality. This is not a simple thing. For a responsible artist, it is far from enough to only give the audience the technology acquired through hard training. What the audience wants to see and hear is the art that has been recreated by the artist and can arouse aesthetic feelings and associations. The improvement of art quality must combine innovation, aesthetic value and social pursuit. Only the combination of these three can have quality.
 
Some carefully investigated data show that there is a large gap between the number of people who enter the performance venue as spectators and the number of people who are interested in the arts but do not enter the performance venue. What's the reason? A big part of it is not being allowed in. Most of our events are still in the small tower of gold, and many more ordinary people don't know where the theater is going, how to buy tickets, how to buy them. The official and business style developed under the planned economy has no less impact on the festival than the business community, or even more so. We know that some western art marketers, as well as Japanese art marketers, work hard to attract audiences to the venue. The first thing they did was to pass on to the viewers where the places were and how they knew there was something to see. Marketers go door to door, sending letters and making phone calls. Japanese art marketers have even offered to make a play as household name.
 
China now also has Internet agencies for ticket sales, but only a dozen points, and the coverage of art propaganda is still small.
 
On the one hand, stage art can learn from general enterprise marketing concepts and methods; on the other hand, it must create and accumulate its own methods and establish its own marketing concepts, so that it can stand in the market. How to create and accumulate your own marketing? Three things must be done:
 
The art market is not ready-made. It is not usually regulated as a fixed place by the government, like a farmers' market, and it generally does not form a centralized market like a Broadway street in New York in the short term. It is mostly scattered, formless and loose. This is to rely on the performing arts groups to build their own performance venue, so that it forms a climate, forming an aesthetic separation.
 
Finding such a niche market is crucial for a performing group. Isn't the audience "barred from the door"? Form their own division, that time do not look for the viewer, the viewer also learned to actively look for you.
 
I took the initiative to find the market and establish my own aesthetic partition, just like watching acrobatics to tianqiao in the old times, watching Peking Opera to huguang guild hall, drinking tea and listening to books to the teahouse, which cultivated my viewing group and established a normal aesthetic relationship.
 
None of the operators will stick to a position permanently. When its business grows to a certain extent, it is natural to be dissatisfied with the status quo. How can we envisage a static art market? All commercial markets are constantly changing, the market is constantly changing, and the audience is always changing, all of which require marketers to treat it dynamically.
 
To treat the art market with a dynamic concept, the most fundamental is to constantly expand the position. Eat this with your mouth, look at that with your eyes, and think of the other. Today's face is middle-aged, we should think about whether we can expand to the young, today is the old, we should think about whether we can attract the young, this is the true color of a marketing person. There is no market to find the market, the establishment of the market, with the market to think of expanding the market, this is the law of marketing.
 
It takes skill to attract an audience; It takes skill to keep an audience that's already here.
 
First of all, we should do everything possible to improve the quality of art, constantly innovate, and constantly renovate in the same way as material products. Every season, there are new works that fascinate people every year, giving viewers endless imagination space. Every time we get something, every time we can enjoy endless happiness. This is the most important one.
 
Second, create ways to stay in touch with the viewer. The Japanese four seasons theater company has established its own membership system, which can become friends of the four seasons without spending much money. The troupe sends information to them from time to time and sends them a list of new plays every month, and they can enjoy discount with membership card.
 
Thirdly, it is necessary to make efforts in the theater and performance services to really think what the audience thinks, and even create convenience that the audience cannot imagine. The Japanese four seasons troupe has set up a soundproof but unobstructed glass room at the back of the auditorium, so that those with children can watch the show, and their children do not affect other audiences.
 
In a word, the core of stage art and culture product marketing industrialization lies in: it is necessary to give priority to viewers and make a breakthrough in market segmentation. We firmly believe that continuous exploration and practice will usher in the rapid development of China's performing arts production and real prosperity of the performing arts market!



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