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TÜRKİYE TİYATROSUNA YÖNETİMSEL BİR BAKIŞ: TİYATRO SEYİRCİSİNİN ROLÜ

Year 2018, Issue: 9, 385 - 404, 12.12.2018

Abstract

Tiyatro yöneticileri ve sahipleri, tiyatroları aracılığıyla ürettikleri eserler ile Türk tiyatrosunun bir parçasıdır. Onların düşünceleri ve olaylara bakış açıları sanatlarını şekillendirir ve böylelikle ülke tiyatrosuna da şekil verir. Mevcut çalışmanın amacı, sınırlı bilimsel kaynağa erişilebilen Türk tiyatro sektörü üzerine bir analiz gerçekleştirmek ve sektörde önemli tüm diğer etkenler gibi tiyatro seyircisinin de yerini tespit etmektir. Bu amaca ulaşmak için, seçilen dört tiyatro temsilcisi ile derinlemesine mülakatlar gerçekleştirilmiştir. Sektörü tanımak üzere yola çıkılan araştırmada, tiyatro sahibi ve yöneticileriyle gerçekleştirilen görüşmeler ışığında; genel hatlarıyla Türkiye tiyatro sektörü, tiyatro sektöründeki trendler, değişen lokasyonlar, üretim süreci, “iyi oyun” algısı, seyirci analizleri, iletişim sistemleri, seyirciye yönelik stratejiler, seyirciyle ilişki kurma çalışmaları, kurumsal GZFT analizleri, tiyatroların finansal durumları gibi sektörü yansıtan önemli başlıklar açığa çıkarılmış ve tüm bu başlıklar içerisinde yer yer tiyatroların “tiyatro seyircisi” algısı keşfedilmiştir. 

References

  • Andreasen, A. R., and Belk, R. W. 1980. “Predictors of attendance at the performing arts”, Journal of Consumer Research, 7(2): 112-120.
  • Ateca-Amestoy, V. 2008. “Determining heterogeneous behavior for theater attendance”, Journal of Cultural Economics, 32(2): 127-151.
  • Boorsma, M., and Van Maanen, H. 2003a. “Expectations and experiences of theatrical arts consumers: A case study from the Netherlands”, Nordisk Kulturpolitisk Tidskrift, 2: 157-189.
  • Boorsma, M., and Van Maanen, H. 2003b. “View and review in the Netherlands: The role of theatre critics in the construction of audience experience”, International Journal of Cultural Policy, 9(3): 319-335.
  • Boorsma, M. 2006. “A strategic logic for arts marketing: Integrating customer value and artistic objectives”, International Journal of Cultural Policy, 12(1): 73-92.
  • Chytková, Z., Cerná, J., and Karlícek, M. 2012. “Segmenting the Performing Arts Markets: The Case of Czech National Theater Attenders' Motivations”, Journal of Competitiveness, 4(3): 96-104.
  • Cooper, P., and Tower, R. 1992. “Inside the consumer mind: consumer attitudes to the arts”, Journal of the Market Research Society, 34(4): 299-312.
  • Cuadrado, M., and Mollà, A. 2000. “Grouping performing arts consumers according to attendance goals”, International Journal of Arts Management, 2(3): 54-60.
  • DiMaggio, P., and Useem, M. 1978. “Social class and arts consumption”, Theory and Society, 5(2): 141-161.
  • Falk, M., and Falk, R. 2011. “An ordered probit model of live performance attendance for 24 EU countries”, Austrian Institute of Economic Research (WIFO), 1-25.
  • Favaro, D., and Frateschi, C. 2007. “A discrete choice model of consumption of cultural goods: the case of music”, Journal of Cultural Economics, 31(3): 205-234.
  • GfK Araştırma Şirketi. Kültür Sanatta Katılımcı Yaklaşımlar. 2017. İstanbul.
  • Gegez, A. E. 2015. Pazarlama araştırmaları, İstanbul: Beta Basım Yayım Dağıtım AŞ.
  • Guillon, O. 2011. “Loyalty behaviours and segmentation of performing arts audiences: The case of Théâtre de l'Athénée in Paris”, International Journal of Arts Management, 14(1): 3244.
  • Guyer, P. 2006. Kant. Oxford: Routledge.
  • Heitmann, G., and Crocken, W.E., 1976. “Theatre audience composition, preferences, and perceptions”, California Management Review, 19: 85-90.
  • Hill, E., O'Sullivan, T., and O'Sullivan, C. 2012. Creative arts marketing, Oxford: Routledge.
  • Kaya, İ. 2010) Pazarlama bi’tanedir: Bir Pazarlamalar Ansiklopedisi, İstanbul: Babıali Kültür Yayıncılık.
  • Kolb, B. M. 2005. Marketing for cultural organisations: new strategies for attracting audiences to classical music, dance, museums, theatre & opera, Andover: Cengage Learning EMEA. Kotler, P., & Scheff, J. 1997. Standing room only: Strategies for marketing the performing arts, Bringhton: Harvard business press.
  • Mann, P. H. 1967. “Surveying a theatre audience: Findings”, The British Journal of Sociology, 18: 75-90.
  • Masters, T., Russell, R., and Brooks, R. 2011. “The demand for creative arts in regional Victoria, Australia”, Applied Economics, 43(5): 619-629.
  • McCarthy, K.F., Brooks, A., Lowell, J., and Zakars, L. 2001. The Performing Arts in a New Era, California: Rand Corporation.
  • Okoli, C., and Pawlowski, S. D. 2004. “The Delphi method as a research tool: an example, design considerations and applications”, Information & management, 42(1): 15-29.
  • Sexton, D. E., & Britney, K. 1980. “A behavioral segmentation of the arts market”, ACR North American Advances, 7: 119-120.
  • Solomon, M. R., Bamossy, G., Askegaard, S., & Hogg, M. K. 2010. Consumer behaviour: a European perspective, Harlow: Financial Times Prentice Hall.
  • TUIK. Sinema ve Tiyatro İstatistikleri. 2015. İstanbul. TUIK. Sinema ve Tiyatro İstatistikleri. 2016. İstanbul.
  • Walmsley, B. 2011. “Why people go to the theatre: a qualitative study of audience motivation”, Journal of Customer Behaviour, 10(4): 335-351.
  • Willis, K. G., Snowball, J. D., Wymer, C., and Grisolía, J. 2012. “A count data travel cost model of theatre demand using aggregate theatre booking data”, Journal of Cultural Economics, 36(2): 91-112.

A MANAGERIAL VIEW ON TURKISH THEATER: THE ROLE OF THEATER AUDIENCE

Year 2018, Issue: 9, 385 - 404, 12.12.2018

Abstract

Theater managers and owners are parts of the Turkish theater with works they produce through the theaters. Their thoughts and perspectives shape their art and thus shape the country's theatrical approach. The aim of this study is to carry out an analysis on the Turkish theater sector which is accessible to limited scientific sources and to explore the place of theater audiences in the sector and all other important factors related with the subject. In order to achieve this aim, in-depth interviews were conducted with selected four theater representatives. In the light of the interviews with the theater owners and managers, which is a tool to recognize the sector in this study, important topics representing the sector were discovered, such as theater sector in Turkey, trends in the sector, changing locations, the production process, the “good play” perception, audience analyses, communication systems, audience strategies, strategies for building relationship, theaters’own SWOT analyses, and financial efforts of theaters. 

References

  • Andreasen, A. R., and Belk, R. W. 1980. “Predictors of attendance at the performing arts”, Journal of Consumer Research, 7(2): 112-120.
  • Ateca-Amestoy, V. 2008. “Determining heterogeneous behavior for theater attendance”, Journal of Cultural Economics, 32(2): 127-151.
  • Boorsma, M., and Van Maanen, H. 2003a. “Expectations and experiences of theatrical arts consumers: A case study from the Netherlands”, Nordisk Kulturpolitisk Tidskrift, 2: 157-189.
  • Boorsma, M., and Van Maanen, H. 2003b. “View and review in the Netherlands: The role of theatre critics in the construction of audience experience”, International Journal of Cultural Policy, 9(3): 319-335.
  • Boorsma, M. 2006. “A strategic logic for arts marketing: Integrating customer value and artistic objectives”, International Journal of Cultural Policy, 12(1): 73-92.
  • Chytková, Z., Cerná, J., and Karlícek, M. 2012. “Segmenting the Performing Arts Markets: The Case of Czech National Theater Attenders' Motivations”, Journal of Competitiveness, 4(3): 96-104.
  • Cooper, P., and Tower, R. 1992. “Inside the consumer mind: consumer attitudes to the arts”, Journal of the Market Research Society, 34(4): 299-312.
  • Cuadrado, M., and Mollà, A. 2000. “Grouping performing arts consumers according to attendance goals”, International Journal of Arts Management, 2(3): 54-60.
  • DiMaggio, P., and Useem, M. 1978. “Social class and arts consumption”, Theory and Society, 5(2): 141-161.
  • Falk, M., and Falk, R. 2011. “An ordered probit model of live performance attendance for 24 EU countries”, Austrian Institute of Economic Research (WIFO), 1-25.
  • Favaro, D., and Frateschi, C. 2007. “A discrete choice model of consumption of cultural goods: the case of music”, Journal of Cultural Economics, 31(3): 205-234.
  • GfK Araştırma Şirketi. Kültür Sanatta Katılımcı Yaklaşımlar. 2017. İstanbul.
  • Gegez, A. E. 2015. Pazarlama araştırmaları, İstanbul: Beta Basım Yayım Dağıtım AŞ.
  • Guillon, O. 2011. “Loyalty behaviours and segmentation of performing arts audiences: The case of Théâtre de l'Athénée in Paris”, International Journal of Arts Management, 14(1): 3244.
  • Guyer, P. 2006. Kant. Oxford: Routledge.
  • Heitmann, G., and Crocken, W.E., 1976. “Theatre audience composition, preferences, and perceptions”, California Management Review, 19: 85-90.
  • Hill, E., O'Sullivan, T., and O'Sullivan, C. 2012. Creative arts marketing, Oxford: Routledge.
  • Kaya, İ. 2010) Pazarlama bi’tanedir: Bir Pazarlamalar Ansiklopedisi, İstanbul: Babıali Kültür Yayıncılık.
  • Kolb, B. M. 2005. Marketing for cultural organisations: new strategies for attracting audiences to classical music, dance, museums, theatre & opera, Andover: Cengage Learning EMEA. Kotler, P., & Scheff, J. 1997. Standing room only: Strategies for marketing the performing arts, Bringhton: Harvard business press.
  • Mann, P. H. 1967. “Surveying a theatre audience: Findings”, The British Journal of Sociology, 18: 75-90.
  • Masters, T., Russell, R., and Brooks, R. 2011. “The demand for creative arts in regional Victoria, Australia”, Applied Economics, 43(5): 619-629.
  • McCarthy, K.F., Brooks, A., Lowell, J., and Zakars, L. 2001. The Performing Arts in a New Era, California: Rand Corporation.
  • Okoli, C., and Pawlowski, S. D. 2004. “The Delphi method as a research tool: an example, design considerations and applications”, Information & management, 42(1): 15-29.
  • Sexton, D. E., & Britney, K. 1980. “A behavioral segmentation of the arts market”, ACR North American Advances, 7: 119-120.
  • Solomon, M. R., Bamossy, G., Askegaard, S., & Hogg, M. K. 2010. Consumer behaviour: a European perspective, Harlow: Financial Times Prentice Hall.
  • TUIK. Sinema ve Tiyatro İstatistikleri. 2015. İstanbul. TUIK. Sinema ve Tiyatro İstatistikleri. 2016. İstanbul.
  • Walmsley, B. 2011. “Why people go to the theatre: a qualitative study of audience motivation”, Journal of Customer Behaviour, 10(4): 335-351.
  • Willis, K. G., Snowball, J. D., Wymer, C., and Grisolía, J. 2012. “A count data travel cost model of theatre demand using aggregate theatre booking data”, Journal of Cultural Economics, 36(2): 91-112.
There are 28 citations in total.

Details

Primary Language Turkish
Journal Section MAKALELER/ARTICLES
Authors

Emine Çobanoğlu This is me

Nilşah Cavdar This is me

Publication Date December 12, 2018
Submission Date December 12, 2018
Published in Issue Year 2018 Issue: 9

Cite

Chicago Çobanoğlu, Emine, and Nilşah Cavdar. “TÜRKİYE TİYATROSUNA YÖNETİMSEL BİR BAKIŞ: TİYATRO SEYİRCİSİNİN ROLÜ”. Art - Sanat, no. 9 (December 2018): 385-404.