Master Thesis. Evaluative criteria in an experiential situation, a theatre performance

Master Thesis Evaluative criteria in an experiential situation, a theatre performance

Lianne Captain Student number: 1549669 Supervisor: Dr. J. Boter Date: June 15, 2007

Master of Science in Marketing Academic seminar: Arts and entertainment Faculty of Economics and Business Administration

Abstract

In prior research the effect of evaluative criteria is examined in brand choice and/or comparison task situations. In the presence of evaluative criteria consumers are able to form a more expert opinion and a better understanding of this opinion. This research examines the effect of evaluative criteria in an experiential situation, a theatre performance. The evaluative criteria are presumed to give the visitors of the theatre performance a more expert opinion which leads to a higher satisfaction of the performance. The results suggest that the evaluative criteria are suited for an experiential situation. The evaluative criteria have a positive effect on the satisfaction of a theatre performance due to a more expert opinion.

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Table of contents

1.

2

3

Abstract

3

Introduction

6

1.1

Problem statement and sub questions

8

1.2

Delimitations of the study

8

1.3

Contribution 1.3.1 Managerial 1.3.2 Theoretical

9 9 9

1.4

Research overview

9

Theoretical framework

11

2.1

Evaluative criteria

11

2.2

Experiential situation

13

2.3

Definition of experts and non experts

14

2.4

Criteria needed for knowledge

15

2.5

Satisfaction and future intentions

17

2.6

Current research

18

Methodology

20

3.1

Research design

22

3.2

Evaluative criteria

21

3.3

The questionnaire

22

3.4

Analyses

23

4

4

5

Results

24

4.1

Method 4.1.1 Data collection 4.1.2 Pre-test 4.1.3 Measures

24 24 25 26

4.2

Results 4.2.1 Analysis 4.2.2 Further analysis

29 29 30

Conclusion and discussion

33

5.1

Conclusion

33

5.2 5.2.1 5.2.2

Discussion Theoretical implications Managerial implications

34 34 35

5.3

Limitations and suggestions for future research

36

6

References

38

7

Appendix

42

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1. Introduction

“Borders between high and low culture fading” (NRChandelsblad 2000)

In the report “Het bereik van de kunsten” published by “Het sociaal en cultureel planbureau” it seems that only a low percentage of the population visits classical forms of culture (e.g. plays, classical concerts or museums) regularly. There is growth in visiting cultural events but this is mainly for the “popular culture” pop music, jazz, musical and cabaret. The group of younger people, 16 to 40 years old attends culture less often and the group of people above 40 is growing. The rapport indicates that the percentage of people who visit classical forms of culture regularly is very low and the visitors of this form of culture are mostly high educated people.

Despite more than 40 years of public investment in the field of high art, organizations dedicated to high art still primarily attract the highly educated. In order to reach the larger community, managers will have to gain some insight into the interests of non-consumers of the arts, and in order to attract more potential consumers as well as new market segments they will have to look at why people are or are not attracted to high art (Colbert 2003).

This research posits that the low percentage of visitors for the classical forms of culture is caused by the lack of knowledge of the mass audiences in order to appreciate this form of culture. To be able to enjoy for example a play or classical concert it is assumed that a certain amount of knowledge is needed. People need this expertise because hedonic consumption is not as easily judged as conventional product consumption. According to Hirschman and Holbrook (1982) hedonic consumption refers to consumers’ multi sensory images, fantasies and emotional arousal in using products. Hedonic consumer research investigates among others the performing arts; opera, ballet, modern dance and legitimate theatre (Hirschman and Holbrook 1982).

Support for this supposition comes from the work of Brantlinger (1983). He states that mass audiences lack the training and refinement needed to appreciate artistic excellence and popularity requires ease of accessibility (Brantlinger 1983). In addition Colbert (2003) states that the level of expertise, among consumers, varies between high and popular art. It is assumed that most people cannot make a quality judgment as succinctly as an expert (Colbert 2003).

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Further support for this supposition comes from the work of Lageat, Czellar and Laurent (2003). They argue that past research has failed to show an empirical link between concrete product features and the perception of hedonic attributes for reasons related to insufficient consumer expertise. Expertise is a key feature allowing for a detailed assessment of hedonic product experiences. People may simply lack the required knowledge for detailed attribute appreciation. The concrete dimensions of the subjective sensory experience are difficult to elicit from consumers who lack both the knowledge and the words to express them (Lageat, Czellar et al. 2003).

The aim of this research is to examine whether the expertise needed for the judgment of hedonic experiences can be given to consumers by using evaluative criteria. Shapiro and Spence (2002) found in their research that in the presence of criteria to evaluate the sensory attribute, experience attributes that are perceived to personal trial, subjects were apparently more expert in their judgments (Shapiro and Spence 2002).

Further support for this theory comes from the work of West, Brown and Hoch (1996). They have examined the effects of a consumption vocabulary on the preference formation of quilts. The effects of such a vocabulary were that subjects provided with a vocabulary exhibit better-defined and more consistent preferences than the control subjects, show improved cue discovery and show learning (West, Brown et al. 1996).

In summary, the percentage of people who visit the classical forms of art, like theatres is very low. This research posits that this is caused by the lack of knowledge of the mass audience. This means that theatres also have to target the non expert consumers because this is the mass audience that does not attend the theatre often. To get the non expert consumers to the theatre they need the knowledge to appreciate the aesthetic excellence. With the help of evaluative criteria people tend to have a more expert judgment and that is just what the non experts need in order to appreciate the aesthetic excellence of theatre performances.

In all previous research the effects of evaluative criteria on preference judgment is examined on products in a brand choice or comparison task situation but not in experiential situations. It is already known that evaluative criteria will help consumers to get a more expert judgment. What is not known is whether the evaluative criteria will help the consumers to a more expert judgment in an experiential situation. In this research the effect of the evaluative criteria will not be examined on choice or comparison between products or services. Instead they will help the consumer to be more an expert in judging the experience what enables them to appreciate the artistic excellence of a theater performance.

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1.1 Problem statement and sub questions

Based on the introduction, the main question is whether evaluative criteria could help the mass audience, the non experts, to appreciate the excellence of a hedonic experience. In this research the hedonic experience is a theatre performance. The theory states that the non experts need the knowledge to appreciate the excellence of a theatre performance and that evaluative criteria could give them that knowledge. If theatre visitors can appreciate the performance more they will probably be more satisfied with the performance.

The problem statement is: “Will theatergoers be more satisfied with a theatre performance when provided with the appropriate evaluative criteria?”

In order to answer this question, information about evaluative criteria is needed. There is a difference in using evaluative criteria in a brand choice task or a brand comparison task, which have been examined so far, and the use of these criteria in an experiential situation. Can the evaluative criteria be applied in such a situation? And will a different situation need different kinds of criteria? The criteria would also have to influence the satisfaction of the performance in order to have an effect, so the effect of the evaluative criteria on satisfaction should be investigated. Finally satisfaction should lead to more theatre visiting if the evaluative criteria are used to help the theatre to get more visitors. This leads to the following sub questions. These questions will be answered in the theoretical framework.

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Can evaluative criteria be applied in an experiential situation?

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What defines an expert and non expert consumer?

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Is a more expert judgment likely to lead to more satisfaction?

1.2 Delimitations of the study The aim of this research is to examine the effect of evaluative criteria on satisfaction of a theatre performance. The research will show whether or not people have a higher satisfaction for a theatre performance when they have evaluative criteria to judge the performance. Furthermore the roll of expertise, the effect of the amount of knowledge on the relationship between the evaluative criteria and satisfaction, will be shown in the research. This research will not address the issue which kinds of performances need what criteria. Neither will this research address the criteria that are important in choice or comparison of the performances. The aim of this research is to see if evaluative criteria are also suited in experiential situations and which criteria should be applied. The experiential situation

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used in this research is a theatre performance. Other experiential situations are not investigated in this research. 1.3 Contribution

1.3.1 Theoretical While the roll of evaluative criteria is examined in a brand comparison and choice task, the effect in an experiential situation is not yet examined. Neither are the criteria that are important in such a situation. In an experiential situation consumers have already made a choice and or comparison and are likely to apply different evaluative criteria to judge the experience itself. In the experiential view, the consequences of consumption appear in the fun that a consumer derives from a product, the enjoyment that it offers and the resulting feeling of pleasure that it evokes (Holbrook and Hirschman 1982). The fun, enjoyment and resulting feelings of pleasure that a consumer derives from theatre performance consumption can be judged more expert but the evaluative criteria needed in order to do so are not examined yet.

1.3.2 Managerial The research implies that people who are perceived as non experts will have a more expert judgment in the presence of evaluative criteria. Therefore they are more satisfied with the theatre performance and this influences the theatre visitation. Because classical forms of culture, like theatre, are more visited by highly educated people who can be seen as experts, the non experts are the group that theatres should focus on. This implies that the non experts should learn to appreciate theatre as experts do. If the evaluative criteria are suitable for this task, theatres have an instrument to reach those people that are hard to reach now. Although sensory attributes are difficult to encode and retrieve, people tend to place more weight on these attributes compared to verbally described market information when making brand choice decisions (Shapiro and Spence 2002). So when reviews of performances are poor, evaluative criteria can be helpful because subjects place more attention to the sensory attributes, thus their own judgment. 1.4 Research overview In chapter two the literature will be examined to give an answer to the sub questions stated. First the roll of the evaluative criteria and their use in an experiential situation are discussed. After that the differences between the expert and non expert consumers are attended to as well as the criteria used for knowledge. Finally satisfaction and its effect on future intentions are examined.

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Chapter three describes the methodology of the research. First the research design will be discussed. After that the evaluative criteria to use in the research are determined. Finally the questionnaire will be explained as well as the analysis used for the research.

In chapter four, the results of the research will be discussed. An answer to the problem statement will be given as well whether or not the hypotheses are supported.

Chapter five contains the conclusion and discussion of the research. First the main conclusions from analysis will be discussed. Than the implications, limitations and suggestions for further research are examined.

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2 Theoretical framework 2.1 Evaluative criteria

When people have to make a product related decision they use product related information to make that decision. Product related information can be classified by level of abstraction, ranging from the concrete, physical attributes, through abstract attributes and benefits onto complex attitudes and values (Olson and Reynolds 1983). In this hierarchy, an abstract attribute is defined as a higher-level attribute that is directly associated with consumer benefits. There are two types of abstract attributes: those concerning the functional qualities of the product versus those referring to the hedonic benefits it delivers. Because of their subjective and experiential nature, the assessment of the sources of hedonic attribute perceptions is problematic (Lageat, Czellar et al. 2003).

Hedonic attributes are similar to sensory attributes, they both have a subjective and experiential nature. Sensory attributes, experience attributes that are perceived to personal trial, are more difficult to judge than normal attributes. Sensory attributes are often ambiguous because it is unclear what factors contribute to the attribute (Shapiro and Spence 2002). Shapiro and Spence (2002) state that in the presence of criteria to evaluate the sensory attribute subjects were apparently more expert in their judgments. Sensory attributes are difficult to encode and retrieve, evaluative criteria help to interpret otherwise ambiguous sensory attributes (Holbrook and Bertges 1981; Hoch and Ha 1986; Shapiro and Spence 2002). In spite of the difficult encoding and retrieval of the sensory attributes people tend to place more weight on these attributes compared to verbally described market information (e.g. advertisements) when making brand choice decisions. Providing criteria to evaluate the sound quality of competing brands of stereos facilitates encoding, retrieval and alignment of the sensory attribute in a brand choice task (Shapiro and Spence 2002).

Further support for this supposition comes from the work of West, Brown and Hoch (1996), they have examined the effects of a consumption vocabulary on the preference formation of quilts. A consumption vocabulary is a taxonomy or framework that allows people to identify product features, and finally identify the relationships between those features and their own evaluations of the products (Hoch and Deighton 1989). In this respect the consumption vocabulary is very similar to evaluative criteria because they both contribute to the identification of otherwise ambiguous attributes. The effects of such a vocabulary were that subjects provided with a vocabulary exhibit better-defined and more consistent preferences than the control subjects, show improved cue discovery and show learning (West, Brown et al. 1996).

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Taken together, the research shows that evaluative criteria can help consumers interpret otherwise ambiguous attributes. Therefore in situations with hedonic and sensory attributes evaluative criteria can help consumers to a more expert judgment, a better understanding of that judgment in a choice task and more consistent preferences.

Sensory and hedonic attributes have a subjective and experiential nature, which indicates that they are perceived to personal trial, people will have to experience them for themselves. Investigating the role of direct product experience in decision making is of critical importance to marketers because people rarely discount the trustworthiness of their own experiences, therefore trial-based beliefs tend to be strong and/or confidently held (Smith 1993). This indicates that people tend to place more weight on their own experiences than on other available product information. Although marketing communications often stress experience attributes (e.g. a stereo has the best sound), belief confidence regarding experience attributes is greater when gained through direct trial experience versus communicated through an advertising medium (Wright and Lynch 1995).

This supposition is further supported by the work of Smith and Swinyard (1982). When compared to advertising, direct experience (1) leads to more strongly held beliefs, which (2) lead to more strongly held attitudes, which (3) culminate in higher attribute-behavior consistency (Smith and Swinyard 1982).

There is a distinction between search and experience attributes (Nelson 1974). Valid search attribute information can be gained from secondhand sources, such as advertising and worth of mouth (vs. first hand experience), without having to buy or try the product. Experience attributes can be verified only by (limited) use of the product, because they are a matter of subjective experience (Wright and John G. Lynch 1995). Nelson’s (1974) framework implies that consumers who lack prior knowledge of a product will be more skeptical of advertising claims about experience attributes than claims about search attributes. Direct experience is superior in communicating experience attributes and advertising is superior in communicating search attributes (Wright and John G. Lynch 1995)

Taken together the research shows that people tend to place more weight on the beliefs and attitudes they have of direct experiences compared to advertisements. Therefore the interpretation and judgment of the hedonic and sensory attributes is very important, strongly held attitudes and beliefs are the result.

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2.2 Experiential situation

In all previous research the effects of evaluative criteria are examined in a product choice or comparison task situation. A theatre performance is an experience where the choice for the performance is already made and the experience itself is what is important. In the experiential view, the consequences of consumption appear in the fun that a consumer derives from a product, the enjoyment that it offers and the resulting feeling of pleasure that it evokes (Holbrook and Hirschman 1982). This indicates that there is a difference in using evaluative criteria in a choice or comparison task situation and an experiential situation.

The relative salience of evaluative criteria is assumed to depend on the individual’s task definition, type of involvement, search activity and personality. For example, where the consumption task is defined as the pursuit of hedonic response, esthetic criteria would be likely to apply (Holbrook and Hirschman 1982). Furthermore the criteria for successful consumption are essentially esthetic in nature and hinge on an appreciation of the product for its own sake, apart from any utilitarian function that it may or may not perform (McGregor 1974)

In the work of Lefkoff-Hagius and Mason (1993) the assumption that similar products are similar liked is investigated. The things that consumers find important when judging the similarity of products does not have to be the same as the things they find important when they evaluate products for purchase. They found that this effect is due to the consumer’s use of different product attributes in making similarity and preference judgments. Consumers rely on beneficial, image and characteristic attributes when making similarity and preference judgments. Beneficial and image attributes are used for preference judgment while characteristic attributes are used for similarity judgment. The beneficial attributes show what the product will do for the user and the image attributes show how the product represents the user to others or self (Lefkoff-Hagius and Mason 1993).

Taken together, the theory shows that experiences are also suitable for evaluative criteria; only different criteria should be used 1 . The criteria are different because an experience is judged on the pleasure and satisfaction it is giving the consumer rather than the non experiential attributes of a product or service. The consumer does not need criteria to choose or compare products or services but needs criteria to be able to enjoy the experience by the extra knowledge the criteria can offer them.

H1: Evaluative criteria will have a positive effect on the satisfaction for a theatre performance.

1

See table 1: Criteria, page 21

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2.3 Definition of experts and non experts

Consumer knowledge has two major components: familiarity and expertise (Jacoby, Troutman et al. 1986). Familiarity is defined as the number of product related experiences that have been accumulated by the consumer. Expertise is defined as the ability to perform product-related tasks successfully. Product-related experiences are defined as the most inclusive level; they include among others; choice and decision making, purchasing and product usage in various situations. In general, increased product familiarity results in increased product expertise (Alba and Hutchinson 1987). This indicates that the people who visit the theatre often can be seen as experts because they have more product related experiences which leads to an increase in expertise.

Researchers distinguish between two types of abstract attributes: those concerning the functional qualities of the product versus those referring to the hedonic benefits it delivers (Lageat, Czellar et al. 2003). Lageat, Czellar and Laurent (2003) argue that past research has failed to show an empirical link between concrete product features and the perception of hedonic attributes for reasons related to insufficient consumer expertise. Expertise is a key feature allowing for a detailed assessment of hedonic product experiences. People may simply lack the required knowledge for detailed attribute appreciation. The concrete dimensions of the subjective sensory experience are difficult to elicit from consumers who lack both the knowledge and the words to express them. They conclude that if hedonic attributes are to be assessed through product-related consumer perceptions, a method combining expert consumer perceptions of hedonic product benefits is needed. The results of their study show that expertise in a product category is not a matter of intuition but rather one of practiced formation. Most inexperienced consumers could, through adequate training, give a detailed assessment of hedonic product experiences (Lageat, Czellar et al. 2003).

Further support for this supposition comes from the work of Brantlinger (1983). He states that mass audiences lack the training and refinement needed to appreciate artistic excellence and popularity requires ease of accessibility (Brantlinger 1983). The visitors of the classical forms of art are mostly highly educated people what can be explained by the lack of training and refinement of the mass audiences to appreciate artistic excellence. The non expert consumers might not appreciate the artistic excellence because there is a certain amount of knowledge needed to be able to do that.

Holbrook, Lacher and LaTour (2006) try to explain the relationship between aesthetic excellence as judged by professional experts and the taste preferences of non expert consumers. They attempt to explain this relationship by adding a mediator variable, audience judgment: evaluations of aesthetic excellence by non expert consumers. They found that non expert consumers do tend to enjoy what

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they perceive to be excellent and to tend to perceive as excellent what the experts judge to be high in aesthetic worth (Holbrook, Lacher et al. 2006).

Taken together, the people that visit the theatre regularly can be seen as expert because in general, increased product familiarity results in increased product expertise (Alba and Hutchinson 1987). The mass audience, the people who do not visit the theatre regularly, who can be defined as the non experts seem to lack the training and refinement to appreciate the artistic excellence. The number of product related experiences results in an increase to perform product related tasks successfully. And finally expertise is important for a detailed assessment of hedonic product experience. This indicates that the non experts need the expertise, the experiences, to perform a detailed assessment of the theatre performance.

H2: The effect of the evaluative criteria on satisfaction will be stronger for non experts than for experts.

2.4 Criteria needed for knowledge

As seen before, there is a difference in the criteria needed in an experiential situation and a product choice or comparison task situation. However it is not known what criteria are needed to give the non experts the knowledge that enables them to judge the hedonic product experience the way an expert can.

The standards of popular appeal governing the tastes of ordinary consumers differ from the criteria for excellence employed by professional critics in rendering expert judgments (Holbrook 1999). Holbrook (1999) investigates the differences between high art and mere entertainment. In motion pictures ordinary consumers and professional critics emphasize different criteria in the formation of their tastes.

Further support for this supposition comes from the work of Maheswaran and Sternthal (1990). They state that experts and novices differ in the types of information that prompt them to process messages in detail. For experts, detailed message processing was most reliable when attribute information was presented exclusively, whereas the inclusion of benefit information as well as some incentive to process the communication stimulated detailed processing for novices. The nature of detailed processing differs in accord to with the consumers’ knowledge. Experts elaborated upon the

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information featured in the message in an evaluative manner, while novices tended to process messages literally (Maheswaran and Sternthal 1990).

Furthermore subjective attributes are more important to persons with lower levels of brand consciousness and brand familiarity than objective attributes as purchase criteria. Jamal and Goode (2001) have tested this assumption on criteria that are important in purchasing precious jewellery. There are two objective and one subjective attributes that are considered to be important to persons with higher levels of brand consciousness and brand familiarity. There are two subjective attributes that are considered to be important to persons with lower levels of brand consciousness and brand familiarity. In the case of persons with higher product knowledge, there remain only two objective attributes that are considered to be important purchase criterion (Jamal and Goode 2001).

Research on consumer knowledge has shown that the cognitive structures of consumers who are knowledgeable in a field are more complex and elaborate than those of novices (Alba and Hutchinson 1987). For experts, brand ratings are based on concrete product features, whereas brand ratings of novices stem from more general impressions about the brand (Dillon, Madden et al. 2001).

This indicates that the experts process information differently than the non experts. This is further supported by Hoch and Deighton (1989). They argue that what consumers learn from experience of using products is not a simple matter of discovering objective truth. What consumers learn from experience depends on what the consumers already know, how much the experience can teach them and how motivated the consumers are to learn. If the motivation of a consumer to learn is higher the consumer encodes the information more fully than the consumer who is less motivated to learn (Hoch and Deighton 1989).

Taken together, there are different attributes important for consumers who are perceived as experts and consumers who are perceived as non experts 2 . For non experts the inclusion of benefit information as well as some incentive to process the communication stimulated detailed processing. And brand ratings of non experts stem from more general impressions about the brand rather than concrete product features. Subjective attributes seem more important to novices, while objective attributes seem more important to experts. Finally what consumers learn from an experience is dependent on what they already know.

2

See table 1: Criteria, page 21

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2.5 Satisfaction and future intentions

When consumers are provided with evaluative criteria they are assumed to be more expert in their judgment and have the required knowledge for detailed attribute assessment. A more expert judgment is assumed to lead to a higher satisfaction. When people are more satisfied with a theatre performance they visit the theatre more often.

Support for this supposition comes from the work of Garbarino and Johnson (1999). They have investigated the role of satisfaction on future intentions. Future intentions entail attendance, subscription and donation. For customers with low relational orientations, overall satisfaction determines future intentions. The non experts are likely to have a low relational orientation because these are the people that do not visit the theatre that often and thus do not have a high relational orientation. This indicates that the overall satisfaction determines the future intentions of the non expert consumers. If the evaluative criteria have a positive effect on the satisfaction this would mean this influences the future intentions as well. For the high relational customers future intentions are determined by their trust and commitment rather than their overall satisfaction (Garbarino and Johnson 1999).

Reddy, Swaminathan and Motley (1998) posit that a shows success is determined by information sources (critics’ reviews, previews and advertising) and objective characteristics (ticket prices, show type, talent characteristics and timing of opening). Information sources are more important to show longevity and show success than the objective features (Reddy, Swaminathan et al. 1998). Prior research suggests that consumers rely more heavily on experiential types of information than objective information in the selection of experiential goods (Cooper-Martin 1992). The evaluative criteria are experiential just like information sources while the objective features are non experiential. This indicates that the evaluative criteria can also be seen as information sources and thus are an important determinant for a shows success: attendance and box office receipts.

Taken together, satisfaction determines future intentions like attendance and subscription. Evaluative criteria are assumed to lead to more satisfaction and thus to an increase in theatre visitation. Furthermore, experiential types of information, like evaluative criteria are important determinants for attendance and box office receipts.

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2.6 Current research

The theory shows that non expert consumers lack the training and refinement to appreciate the classical forms of art. On the other hand it also shows that non experts are able to enjoy the aesthetic excellence of a performance once they have the knowledge on what is “excellence”. According to the theory consumers are more expert in their judgment with evaluative criteria present. This has been tested in a brand choice and comparison task situation. Shapiro and Spence (2002) have investigated the roll of evaluative criteria on stereos. In their research the use of criteria is used to evaluate the stereo in a brand choice task and it only involves sound. West, Brown and Hoch (1996) have examined the working of a consumption vocabulary. This was tested on quilts, this is also a choice task and quilts are a product rather than an experience.

In the experiential view, the consequences of consumption appear in the fun that a consumer derives from a product, the enjoyment that it offers and the resulting feeling of pleasure that it evokes (Holbrook and Hirschman 1982). In a theatre setting consumers already bought the tickets, the criteria are used during the experience. The consumer does not need criteria to compare products or services with each other but needs criteria to be able to enjoy the experience through the extra knowledge the criteria can offer them. The theory shows that experiences are also suitable for evaluative criteria, only different criteria should be used.

The amount of knowledge a person has is also important in the experiential situation. There are different attributes important for consumers who are perceived as experts and consumers who are perceived as non experts. Subjective attributes seem more important to novices, while objective attributes seem more important to experts. What consumers learn from an experience is dependent on what they already know. For non experts the inclusion of benefit information as well as some incentive to process the communication stimulated detailed processing. And brand ratings of non experts stem from more general impressions about the brand rather than concrete product features.

Evaluative criteria are assumed to influence the satisfaction of the theatre performance. Satisfaction determines future intentions like attendance and subscription. Furthermore, experiential types of information, like evaluative criteria are important determinants for attendance and box office receipts.

Based on the theory, the following model is created. The evaluative criteria are assumed to have a positive influence on satisfaction with a theatre performance. The existing knowledge, whether someone is an expert or non expert, mediates the relationship between evaluative criteria and satisfaction.

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Figure 1: Conceptual model

Existing knowledge

H2

Evaluative criteria

H1

Satisfaction

Future intentions

In the model the constructs evaluative criteria, existing knowledge, satisfaction and future intentions are used. The arrows with a dotted line are the effects which this research aims to investigate. The effect of satisfaction on future intentions is already proven in past literature 3 .

The hypotheses stated in the theoretical framework are incorporated in the model.

H1: Evaluative criteria will have a positive effect on the satisfaction of a theatre performance. H2: The effect of the evaluative criteria on satisfaction will be stronger for non experts than for experts.

The research question “Will theatergoers be more satisfied with a theatre performance when provided with appropriate evaluative criteria?” can be answered when the hypothesis are tested. Hypothesis one can give a straight answer to the research question. From the theory it became clear that the reason that some people need the evaluative criteria is that they are not expert enough to appreciate the performance in the way an expert can. This indicates that the influence of the evaluative criteria will probably be stronger for the non experts than the experts. The experts are assumed to already have the knowledge needed to appreciate the performance. Hypothesis two contains the question what the influence of existing knowledge, whether someone is expert or non expert, is on the effect of the evaluative criteria on the satisfaction.

3

See page 17

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3. Methodology 3.1 Research design In order to answer the hypotheses, a quantitative research is necessary. The best way to test the hypothesis is with an experiment because then the variables in the study can be manipulated and/ or controlled. Experimental design is appropriate when one wishes to discover whether certain variables produce effects in other variables, in this research the effect of the evaluative criteria on satisfaction. Furthermore experimentation provides the most powerful support possible for a hypothesis or causation (Cooper and Schindler 2003)

For this research a theatre is needed where the effect of the evaluative criteria on satisfaction with a theatre performance can be measured. The experiment will be conducted in “Het Stadstheater” in Zoetermeer, the Netherlands. The performances used for the experiment have to be performances where the visitors need a certain amount of knowledge. Furthermore the performances could not be sold out to the subscribers only because the non experts are presumed to be the single ticket buyers and need to be represented in the sample.

In consultation with the marketing manager of the theatre in question three performances were chosen. Because of the time frame, there were four performances to choose from. One of them was excluded immediately because it was sold out to subscribers only. The other three performances were chosen to do the experiment. The first performances is classical ballet, the second one is a theatre concert and the last one a play. Because the aim of this research is not the performance or which performances need what criteria, not all different kinds of performances are represented in this research. This research only addresses the question whether the evaluative criteria have an effect on the satisfaction of the performance. With the use of three kinds of performances the reliability of the research is increased and there may be some assumptions about the use of criteria with different performances.

In the experiment the respondents of the sample are divided in two groups. The first group receives the criteria before the performance and has to fill in a questionnaire after the performance. The second group does not receive the criteria but only has to fill in a questionnaire after the performance. When all data is collected, the groups are compared to see if there is any difference in satisfaction between the people who have gotten the criteria and the people who have not gotten the criteria. The existing knowledge will be determined with the help of the questionnaire. This measure is used to see if there is any difference between the people who are perceived as experts and the people who are perceived as non experts.

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3.2 Evaluative criteria In order to do the experiment, the evaluative criteria should be determined. The evaluative criteria should give the non expert consumers the knowledge they need in order to appreciate the artistic excellence. The theoretical framework provides the characteristics of the evaluative criteria (table 1: Criteria). These characteristics are used to determine the criteria for each performance. Not all of these characteristics could be used (e.g. we do not know how motivated a respondent is to learn). The evaluative criteria give the respondents some extra information about the performance itself as well as the genre of the performance. For the first performance information to learn the respondents how to watch the ballet is given, for the second performance information about music and instruments is given and for the third performance some guidelines how to watch a play are given. The information about the type of performance is combined with the information about the show itself.

Table 1: Criteria Criteria needed in experiential situation

Criteria needed for knowledge

Emphasis on esthetic criteria

Criteria focused on subjective attributes

Criteria hinge on an appreciation of the product for

Learn form the experience depended on:

its own sake, apart from any utilitarian function that

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What consumers already know

it may or may not perform

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What experience can teach them

-

How motivated consumers are to learn

Criteria focused on -

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Beneficial attributes: what the product will

Criteria should include benefit information as well as

do for the user

some incentive

Image attributes show how the product represents the user to others or self

In the criteria, more general impressions about the brand are needed

For the first theatre performance, the ballet, the criteria are determined with the help of a website that was founded to get the visitors of the site acquainted with ballet and modern dance, learn to watch the ballet and modern dance and learn the historical and social background that are often necessary in order to appreciate the dance performance 4 . This is the information that the non experts need in order to understand the performance and form an objective opinion about the performance 5 .

4 5

www.dansmaar.nl The criteria can be found in appendix 7.1.1

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For the second theatre performance, the Cuban theatre concert, the criteria are determined with the help of the website of the impresario of the performing artists 6 . The origin of the performing group is explained as well as the different styles of Cuban music. All the styles of Cuban music have different characteristics, which are explained so the people could hear for themselves which style the band was playing with every song 7 .

For the third performance, the play, the criteria are determined with the help of the website of the producing theatre 8 , reviews from this website and a guidebook of theatre 9 . Information about the performance, the creator of the performance and guidelines how to watch a theatre play are given 10 . 3.3 The questionnaire The questionnaire contains questions about the perceived expertise of the respondents and the satisfaction with the performance. These are the constructs used to test the hypotheses. To increase the validity of the research other questions are incorporated. These questions are used to test whether there are not too many differences between the experimental and control group. Examples of these questions are age, theatre attendance and level of education. The questionnaires are the same for each performance, with some slight adjustments of the type of the performance 11 .

Table 2: Questionnaire Question:

Measure Construct

1

Evaluative criteria

2 and 3

Measurement goal

Check differences between experimental and control group

4

Existing knowledge

5

Satisfaction with the performance

6

Extra measurement satisfaction

7 and 8

Check differences between experimental and control group

6

www.earthbeat.nl The criteria can be found in appendix 7.2.1 8 www.orkater.nl 9 www.het-muziektheater.nl 10 The criteria can be found in appendix 7.3.1 11 The questionnaires can be found in appendix 7.1.2, 7.2.2 and 7.3.2 7

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Satisfaction is measured using a six-item, seven point Likert-type summated ratings scale measuring the degree to which a person who has just been involved in an activity thinks that it was a good experience and worth the price (Bruner and Hensel 1996-1998). Alphas of .90 and .93 are reported by Arnould and Price (1993) and Price and Arnould (1995) who developed the scale for their research (Arnould and Price 1993; Price, Arnould et al. 1995).

To determine the existing knowledge of a respondent an eight-item, seven point Likert-type rating scale is used measuring a person’s self-reported familiarity and expertise with a particular product category. This is a subjective measure of product knowledge and is considered to be distinct from, though related to, objective knowledge and experience (Bruner and Hensel 1996-1998). Alphas of .82 and .93 are reported by Flynn, Goldsmith and Eastman in their study (Flynn, Goldsmith et al. 1996). 3.4 Analyses To test the hypotheses ANOVA is used. Regression analyses is used to identify the type of mathematical relationship that exists between a dependent and an independent variable (Berenson, Levine et al. 2005). Hence the relationship between the evaluative criteria and satisfaction with the performance can be identified. In order to test the second hypothesis, the moderator variable existing knowledge is taken into the model, to see if this variable influences the relationship between the evaluative criteria and satisfaction with the performance (Hair, Black et al. 2006).

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4 Results 4.1 Method 4.1.1 Data collection The data was collected on three different occasions, with three different kinds of performances. The turnout for these performances was approximately equal. The evaluative criteria were given to only half of the respondents, the other half did not get the criteria. The people who have received the evaluative criteria are placed in the experimental group and the people who have not received the criteria are placed in the control group.

The respondents from the experimental group were randomly chosen and addressed to before the performance. They were asked to fill in the questionnaire after the performance. The evaluative criteria were given, with the excuse that some extra information about the show and genre might be interesting to them and therefore given before the performance. They did not know the function of this information and were told that the research goal was to determine the satisfaction of the performance on behalf of the theatre. The questionnaire was stapled to this information to prevent mix up of the control and experiment group. Furthermore the questionnaire of the experimental group contained the question whether or not the respondent has read the information that was given before the performance. This was an extra precaution to make sure the right people are placed in the experimental and control group. The questionnaires where this question was not answered were taken out of the sample.

The respondents of the control group were randomly chosen and addressed to after the performance. They were asked to fill in the questionnaire and were also told that the research goal was to determine the satisfaction with the performance on behalf of the theatre.

The study consists of 198 respondents. Almost half of the respondents (90) have received the evaluative criteria before the performance and filled in a questionnaire at the end of the performance. The other respondents (108) did not receive the evaluative criteria and only filled in a questionnaire. Table 3 gives insight in the characteristics of the respondents for the different performances.

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Table 3: Differences among populations Ballet

Theatre concert

Play

Total

Number of respondents Criteria No criteria

52 26 26

72 33 39

74 31 43

198 90 108

Subscriber or single ticket buyer Subscribers Single ticket buyers Both

20 25 7

36 23 13

41 21 12

97 69 32

Attendance 1-2 times a year 3-5 times a year 6-10 times a year 10 or more times a year

4 14 25 9

5 20 28 19

2 11 39 22

11 45 92 50

4.1.2 Pre-test The first performance, the ballet was used as a pre-test. This experiment made clear that most of the visitors of the performance were willing to participate in the experiment. The evaluative criteria were seen as interesting but too long. The evaluative criteria were three pages long for the ballet performance so for the following two performances they were shortened to two pages.

The respondents needed to have enough time to read the criteria before the performance. During the first experiment, the ballet, they had at least twenty minutes to read the criteria. This should be enough to read the criteria however considering the other tasks they wanted to fulfill in this amount of time, have drinks, use the bathroom etc, this time should be longer. The time between opening of the theatre and beginning of the performance contained one hour and fifteen minutes. Instead of one, two researchers handed out the questionnaires for the second and third performance. Now, the evaluative criteria and questionnaires were handed out earlier in the evening and the people had at least 45 minutes to read the criteria.

Because the first performance is used as a pre-test, only the data from the second and third performance are used for further analysis.

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4.1.3 Measures The independent variable, whether the respondent has read the criteria or not is determined using a dummy variable, where 0 stands for the respondents who did not read the criteria and 1 for the respondents who did read the criteria.

Satisfaction is measured using a six-item, seven point Likert-type summated ratings scale. The six items are formed into one variable to measure the satisfaction with the performance. The respondents filled in to which extend they agreed or not agreed with the given statement. The perceived expertise of the respondents is measured using an eight item 12 , seven-point Likert-type scale. The eight items are formed into one variable to measure the expertise of each respondent. The respondents filled in to which extend they agreed or not agreed with the given statement.

The remaining questions are used to check whether there are not too many differences between the experimental group and the control group 13 . The differences between the control group and the experimental group are not significant on most of the control variables. The control variable age does show a significant difference between the control and experimental group. The people who have gotten the criteria are slightly older than the people who did not receive the criteria (.025 p<0.05). The people who have not received the criteria are on average 47.59 years old while the people who have received the criteria are on average 51.49 years old.

12

The items “not knowledgeable”, “compared to most people” and “not knowledgeable concerning” were recoded in the analysis, see table 4: variables. 13 See appendix 7.4

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Table 4: Variables Construct

Item

Item description

Existing

Knowledge

The knowledge on the particular genre of the performance

Expert among friends

Is someone perceived as an expert among friends on the

knowledge

particular genre of the performance Known performances

Whether someone knows most types of performances on the particular genre

Much knowledge

Whether someone has quite some knowledge on the particular genre of the performance

Not knowledgeable

Whether someone does not feel very knowledgeable on the genre of the performance

Compared to most

Whether someone knows less about the genre of a particular

people

performance than most other people

Not knowledgeable

Whether someone really does not know a lot on the genre of

concerning

the particular performance

Heard of new plays

Whether someone has heard about most new shows on the genre of the particular performance

Satisfaction

Unique and special

Determine whether the performance had many unique or

Experience

moments

special moments for the respondent

Special meaning

Determine whether the performance had a special meaning to the respondent

Good as expected

Determine whether the performance was as good as the respondent expected

Satisfying

Determine whether the performance was satisfying to the respondent

Best experiences

Determine whether the performance stands out as one of the best experiences of the respondent

Worth the price

Determine whether the performance was worth the price the respondent paid for it

Evaluative criteria

Dummy variable

0 = did not read the criteria 1 = did read the criteria

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Before the analysis of variance can be executed, first the dependent and moderator variable will have to be tested for their reliability. This will be done for the studies separately and together. The reliability of the moderator variable, existing knowledge, was above .9. This indicates that there is high correlation between the items that measure existing knowledge (Novak, Hoffman et al. 2000). Therefore for each study the items that have the highest correlation are removed. The statistics between brackets are the reliability statistics without removal of items and thus a too large correlation. The statistics after are the statistics where some of the items were removed to avoid correlation. Table 5: Reliability Cronbach’s Alpha

Theatre concert

Play

Theatre concert and play together

Existing knowledge

(.924) .881*

(.941) .876**

(.937) .868***

Satisfaction with the experience

.870

.780

.870

* For the second performance the items Expert among friends and Much knowledge are removed from analysis. ** For the third performance the items are Expert among friends, Much knowledge and not knowledgeable concerning are removed from analysis. *** For the performances together the items Expert among friends, Much knowledge and not knowledgeable concerning are removed from analysis.

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4.2 Results

4.2.1 Analysis All the assumptions of ANOVA are met so the analysis can be conducted. The enter method is used, consequently all the variables are taken into the model at the same time (Vocht 2004). Table 6: Descriptive statistics Coefficients(a)

Model

1

(Constant)

Unstandardized Coefficients Std. B Error 2.937 .106

Criteria or not

Standardized Coefficients

t

Sig.

Beta

-.762 .375 Existing .160 .084 knowledge * Criteria or not a Dependent Variable: Satisfaction with the performance

Collinearity Statistics Tolerance

VIF

27.656

.000

-.392

-2.034

.044

.183

5.459

.367

1.907

.059

.183

5.459

The results illustrate that the evaluative criteria have a significant effect on satisfaction with the performance (.044 p<0.05). Because the evaluative criteria are entered in the model as a dummy variable, the regression coefficient can not tell us whether the influence of the criteria on satisfaction with the performance is positive or negative. A closer examination of the data is needed.

Satisfaction with the performance

Figure 2: Satisfaction with the performance 6 5 4 Criteria

3

No Criteria

2 1 0 Theater concert

Play

The respondents seem to have a higher mean of the satisfaction with the performance when the evaluative criteria are present. This indicates that the evaluative criteria have a positive effect on the satisfaction with the performance and the first hypothesis is supported.

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Existing knowledge also has a significant effect on the relationship between evaluative criteria and satisfaction with the performance (.059 p>0.1). The existing knowledge has a positive regression coefficient which indicates that the effect of the evaluative criteria on satisfaction with the experience will be stronger when the moderator variable existing knowledge increases. The existing knowledge is measured in agreement with given statements, the higher the agreement, the more a respondent is considered to be a non expert. So the effect of the evaluative criteria on satisfaction with the performance is stronger for non experts. The second hypothesis is supported as well. Table 7: Summary of the hypothesis testing Hypothesis 1

Evaluative criteria will have a positive effect on the satisfaction of a theatre performance

Supported*

Hypothesis 2

The effect of the evaluative criteria on satisfaction will be stronger for non experts than for experts

Supported**

* p<0,05 ** p< 0.1 4.2.2 Further analysis In the theoretical framework some assumptions were made referring to the perceived expertise of the experts and non experts. These assumptions are tested using the data from the experiments 14 .

The assumption that the experts visit the theatre more regularly than the non experts was made. Because an increase in product familiarity results in increased product expertise the people who are perceived as experts are assumed to visit the theatre more often.

Figure 3: Difference in attendance between experts and non experts 60

# of respondents

50 40 Expert

30

Non expert

20 10 0 1-2 times a year

14

3-5 times a year 6-10 times a year 10 or more times a year

The distinction between experts and non experts was made using cluster analysis

30

This assumption seems to be correct. The non experts are represented more in the lower attendance groups (1-2 times a year and 3-5 times a year), while the experts are more represented in the higher attendance groups (6-10 times a year and 10 or more times a year). Although the difference in attendance between experts and non experts in the 1-2 times a year category and the 6-10 times a year category is very small.

When the experts are more frequent visitors than the non experts, this gives the impression that that the experts are the subscribers, while the non experts are the single ticket buyers.

Figure 4: Difference in subscribers and single ticket buyers between experts and non experts 60 # of respondents

50 40 Experts

30

Non Experts

20 10 0 Subscribers

Single ticket buyers

Both

The subscribers are more represented by the experts and the single ticket buyers slightly by the non experts. The experts seem to be a bit more represented in the category of both a subscriber and a single ticket buyer. The difference between experts and non experts in the single ticket buyers’ category and the category where both the subscribers and single ticket buyers are represented is very small. Therefore the impression that the experts are the subscribers and the non experts are the single ticket buyers does not seem to be correct.

Further examination of the data leads to the conclusion that the experts seem to rate the performance much higher than the non experts do.

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Satisfaction with the performance

Figure 5: Difference in satisfaction between the experts and the non experts with or without the criteria. 4.4 4.3 4.2 4.1 4

Criteria No Criteria

3.9 3.8 3.7 3.6 3.5 Expert

Non Expert

The experts seem to rate the performance higher than the non experts, with or without the criteria. The non experts that have received the evaluative criteria, rate the performance almost as high as the experts who did not receive the criteria. The difference in satisfaction between experts and non experts without the criteria is larger than the difference in satisfaction between experts and non experts in the presence of the criteria.

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5 Conclusion and Discussion, 5.1 Conclusion The objective of this research was to examine whether evaluative criteria could give the mass audience, the non experts, the knowledge to appreciate the excellence of a hedonic experience. Prior research suggests that evaluative criteria give people a more expert judgment in a brand comparison or choice task. In this research the effect of evaluative criteria in an experiential situation is examined. The experiential situation in this study is a theatre performance.

The theory shows that experiences are also suitable for evaluative criteria; only different criteria should be used. The criteria are different because an experience is judged on the pleasure and satisfaction it is giving the consumer rather than the non experiential attributes of a product or service. The consumer does not need criteria to compare products or services with each other but needs criteria to be able to enjoy the experience by the extra knowledge the criteria can offer them.

The extra knowledge that the evaluative criteria can give the consumer is assumed to be interesting for the people who are perceived as non experts. The expert consumers are assumed to already have the required knowledge. In this respect it is important to know what defines an expert and a non expert. The people that visit the theatre regularly can be seen as experts because in general, increased product familiarity results in increased product expertise (Alba and Hutchinson 1987). Expertise is important for a detailed assessment of hedonic product experience. This indicates that the non experts need the expertise, the experiences, to perform a detailed assessment of the theatre performance.

Taken together, the evaluative criteria are assumed to be suited for the experiential situation and can give the non expert consumers the knowledge they need. When non experts have the required knowledge, they are probably more satisfied with the experience, which leads to an increase in theatre visitation. Satisfaction determines future intentions like attendance and subscription. Evaluative criteria are assumed to lead to a higher satisfaction and thus to an increase in theatre visitation. Furthermore, experiential types of information, like evaluative criteria are important determinants for attendance and box office receipts.

The results of this research support the proposition that evaluative criteria are suitable in an experiential situation. The evaluative criteria have a positive effect on the satisfaction of a theatre performance. The proposition that this effect would be stronger for the non experts than the experts was supported as well. When people know more about a performance they are more satisfied because they know how to judge and interpret the performance.

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5.2 Discussion 5.2.1 Theoretical implications In prior research the effects of evaluative criteria are examined in product choice or comparison situations. This research focused on the use of these criteria in an experiential situation. The results suggest that evaluative criteria are also suitable in experiential situations, in this case a theatre performance. Furthermore the criteria that should be used in such a situation are determined. The criteria are applicable in experiential situations where people need knowledge in order to understand and interpret this experience.

The use of evaluative criteria in experiential situations was assumed to lead to a more expert judgment and appreciation of the aesthetic excellence. This is supported by this research. The non experts who have read the criteria seem to rate the performance almost as high as an expert does, this indicates that the non experts have a more expert opinion of the theatre performance.

The satisfaction with the performance was also higher in the presence of the evaluative criteria, which indicates that the non experts are more satisfied with a performance when they have a more expert opinion. According to the theory, this expert opinion is needed in order to appreciate the excellence of the performance and understand and interpret the sensory attributes.

The effect of the evaluative criteria on satisfaction is stronger for the non experts than for the experts. This can be explained because the non experts do not visit the theatre regularly and thus do not have the knowledge required for the assessment of the performances. The evaluative criteria help them with this assessment. Although the effect of the evaluative criteria was stronger for the non experts, the experts also rate the performance higher in the presence of evaluative criteria. This indicates that the experts do have the required knowledge but the evaluative criteria provide them with something that increases the satisfaction. This could be explained by the fact that experts might have seen lots of performances and have other performances to compare but are not really experts in how to judge and interpret the performances.

The number of product related experiences results in an increase to perform product related tasks successfully. And expertise is important for a detailed assessment of hedonic product experience. This is supported by the research; the experts seem to visit the theatre more often than the non experts.

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5.2.2 Managerial implications The evaluative criteria have a positive effect on the satisfaction with a performance. This indicates that theatre visitors are more satisfied when they have more information about the performance and know how to judge and interpret the performance. The people who do not attend the theatre often are considered to be not very knowledgeable and need this information. Apparently the people who do visit the theatre often are also more satisfied with the performance in the presence of evaluative criteria. This indicates that the evaluative criteria can be used to get more visitors to the theatre and not only the non experts.

People tend to place more weight on experiences and their own judgment than on market information. Therefore the satisfaction with a theatre performance, especially for those who do not attend the theatre that often, must be positive. Strongly held beliefs and attitudes are a consequence and could lead to the loss of these customers based on one bad experience. The people who attend the theatre more often rely more on the trust and commitment they have with the theatre and are thus not as easily lost as the low relational customers. People also tend to place more weight on the beliefs and attitudes they have of direct experiences compared to advertisements. So when reviews are poor, evaluative criteria can be helpful in getting a positive opinion after all.

For the low relational customers the satisfaction is the most important driver of their future intentions, attendance, subscription and donation. Consequently the satisfaction of these people, who do not attend the theatre that often, is very important. This satisfaction is higher in the presence of the evaluative criteria. Thus the people that are to be targeted, to visit the theater more often, can be targeted using the evaluative criteria.

The evaluative criteria are formulated based on the literature. To get a closer look of what the respondents thought of these criteria, they were asked what they thought of the criteria when they handed in their questionnaires. Because the filled in questionnaires were given to the researcher as well as the personnel of the theatre, the researcher did not have opportunity to ask these questions to all of the respondents. The following review is thus a more general opinion from the respondents the researcher spoke to. These conversations indicated that the evaluative criteria used for the ballet performance were interesting but too long. Three pages of information were used in the experiment with the ballet performance. For the second and third performance the criteria were shortened to two pages. The people particularly liked it if they had read something they could see for themselves during the performance. In the criteria for the theatre concert for example, the instruments for different styles of music were explained. The people could see which instruments were used and thus knew the style the band was playing at that particular moment. It is thus very important to connect the information used for the evaluative criteria to the particular performance.

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5.3 Limitations and suggestions for future research The literature was used to determine the evaluative criteria for the experiments. In spite of the efforts to make this process as accurate as possible, not all insights could be used. What consumers learn from experience depends on what the consumers already know, how much the experience can teach them and how motivated the consumers are to learn (Hoch and Deighton 1989). If the motivation of a consumer to learn is higher the consumer encodes the information more fully than the consumer who is less motivated to learn. In this research it is not known whether the respondents were motivated to learn and if they have read the criteria intensively. All other insights were used to formulate the criteria however in which extend this process actually worked is unknown. In further research it would be interesting to see how motivated consumers are to learn when they attend a theatre performance. How willing they are to read a certain amount of information intensively and if they would like to have this information for every performance they attend.

During the experiments used for analysis the respondents had at least 45 minutes to read the criteria. The assumption that this was long enough was made, however people have other tasks to fulfill in this period of time so the assumption could not be made with full security. It would be interesting to see what the effects of the evaluative criteria would be when people have more time to read them. For example, when the evaluative criteria are given a week or month before the performance. People than have more time to read them and maybe more intensively than they did now. This could lead to an even higher effect on satisfaction.

In this research the experiments were done in a theatre setting. Therefore the generalization of the study is limited. Further research could focus on the use of evaluative criteria in other experiential situations. For example, when people visit a museum, how should they judge and interpret this experience.

Finally this research focused on performances where a certain amount of knowledge is required. Due to time constraints not all performances that need a certain amount of knowledge, are examined. It would be interesting to see with what performances people need evaluative criteria and which performances do not.

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Acknowledgements

The author would like to thank Dr. J. Boter and her thesis buddies for their help, comments and suggestions. The author also thanks the “Stadstheater” in Zoetermeer for the ability to do the experiments and help with the questionnaires.

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7 Appendix 7.1 Experiment 1: Ballet

7.1.1 Criteria Voor de bezoekers van de voorstelling Colours of Dance staat hieronder wat aanvullende informatie over ballet en de voorstelling. Wat is nu eigenlijk ballet? Ballet is een dansvorm die gebonden is aan academische technieken. Het unieke aan ballet is dat je overal ter wereld hetzelfde leert en dat er overal ongeveer op dezelfde manier wordt lesgegeven, alleen specifieke methodes verschillen. Een balletvoorstelling is een complete productie, waarin de ideeën van de makers een plaats hebben gekregen op het gebied van de dans zélf, de betekenis ervan, het geluid en /of de muziek erbij, de ruimte waarin de dans zich afspeelt, het decor, de kostuums en de belichting. De voorstelling van vanavond Colours of Dance biedt de ideale aanvulling op het bekende klassieke repertoire en vormt een mooie verbinding tussen klassiek ballet en moderne dans. Maar wat is nu klassiek ballet en moderne dans? Klassiek ballet is de oudste vorm van ballet en wordt doorgaans gechoreografeerd op klassieke muziek, waarbij de componist heeft bedoeld dansmuziek te schrijven. Kenmerkend voor klassiek ballet zijn de vijf voetposities en de naar buiten gedraaide stand van de benen en voeten. Het lichaam wordt voornamelijk opgestrekt, waarbij ernaar gestreefd wordt om het idee op te roepen dat de danser 'los komt van de grond'. Moderne Dans is een van de dansstijlen die in het begin van de 20e eeuw is ontstaan als reactie op het klassieke ballet. Deze dansstijlen hebben als overeenkomst dat niet de klassieke ballettechniek wordt gehanteerd, maar dat er juist wordt uitgegaan van de natuurlijke bewegingsimpulsen van de mens: ademen, vallen en opstaan, lopen. Hierbij zijn rompbewegingen en acties over de grond vanzelfsprekend. Choreografieën Bij het ene ballet is het heel duidelijk waar het over gaat, bijvoorbeeld bij een romantisch ballet waarin een duidelijke verhaallijn te herkennen is, zoals bij Romeo en Julia. In thematische balletten wordt geen verhaal verteld, maar uitdrukking gegeven aan een gevoel, een stemming of een gedachte. Het gaat bijvoorbeeld over de strijd tussen goed en kwaad of tussen de tegenstrijdige emoties die een persoon ervaart. Er zijn ook choreografieën die over niets anders dan de dans zelf gaan. Hierin vertelt de choreograaf geen verhaal, hij legt er geen betekenis in; het gaat puur om de bewegingsconstructie. Colours of Dance is een kleurrijk, modern klassiek ballet met zeer toegankelijke choreografieën. Dit betekend dat de betekenis van de choreografieën duidelijk te herkennen moet zijn. Wat voor associaties roept dans op en hoe moet ik die interpreteren? Als je mensen ziet bewegen, koppel je daar bijna vanzelf een interpretatie aan: bijvoorbeeld: je denkt bij een snelle sprint: 'die heeft haast'. Dat gebeurt ook bij het zien van dans, of het nu wel of niet de bedoeling is van de choreograaf . De choreograaf kan

42

in zijn dans bewust verwijzingen verwerken die iets over de inhoud van het dansstuk zeggen. Er kan bijvoorbeeld in de dans aan bepaalde emoties uitdrukking gegeven worden, er kunnen herkenbare situaties of gebeurtenissen in voorkomen. De dans kan een bepaalde sfeer oproepen die aan andere tijden of aan andere plaatsen doet denken. Daarnaast kunnen in een dans momenten voorkomen die bij de toeschouwer bepaalde associaties oproepen; vaak is dat een meer persoonlijke interpretatie; bijvoorbeeld: de dans heeft naar jouw idee 'iets dierlijks', of de handelingen lijken machinaal. Wat krijg ik nou concreet te zien vanavond,? Dans zie je: de dansers en hoe zij bewegen, waarheen zij zich bewegen en in welke groepssamenstelling, hoe zij gekleed gaan, hoe de ruimte eruit ziet waar gedanst wordt, welk decor er is. Dans hoor je: geluid van voeten, handen of andere lichaamsdelen, de ademhaling van de dansers, de muziek of andere begeleidende klanken. De middelen waarmee de dans opgebouwd is werken op elkaar in zodat de dans als één geheel overkomt. Ieder onderdeel heeft invloed op het geheel; een dans waarin de dansers zware laarzen aan hebben en toch elegant op hun tenen dansen, verschilt veel van een dans waarin de dansers spitzen dragen en elegant op hun tenen dansen. De hele dans draait om de danser of danseres. Danst hij/zij alleen, met één partner of in een groep, met wie danst hij/zij samen en met wie niet. Als tijdens een hele dans een groep mannen en een groep vrouwen gescheiden blijven dansen heeft dat een andere zeggingskracht dan als de twee groepen opgaan in duo's van mannen met vrouwen. Dansen doe je met je lichaam De danser springt, draait, reikt, beweegt alleen met zijn armen of kronkelt met zijn hele lijf. Wat je ziet is dat zijn lijf beweegt: het lichaam is het 'instrument' van de danser dat hij heel bewust gebruikt. Er is onderscheid te maken naar de aanzet (beginpunt) van de beweging: bijvoorbeeld in de romp of in de hand. Een ander onderscheid is de totaal beweging of isolatie beweging: bij totaal bewegen beweegt het hele lichaam, bij isolatie wordt een deel van het lichaam bewogen en de rest wordt stil gehouden; het lijkt alsof er gebaren worden gemaakt. Nog een onderscheid is symmetrisch of asymmetrisch bewegen. Bij symmetrische bewegingen spiegelt de ene helft van het lichaam de andere helft. Het springen, rollen, draaien, rollen, balans houden etcetera heet dansactie. De mate van afwisseling van dansacties in een choreografie bepaalt mede de levendigheid van de dans. Meestal kiest of ontwerpt de choreograaf voor zijn choreografie danspassen (specifieke stappen en verplaatsingen) en danscombinaties (combinatie van verschillende dansbewegingen) die in de dans regelmatig terugkomen. Het gezelschap van Colours of Dance wordt ieder jaar opnieuw samengesteld uit de top van jong Europees ballettalent. De jonge solisten zijn speciaal voor dit project uitgeleend door de grootste balletgezelschappen uit Europa. Ruimtegebruik Op alle momenten in een dans wordt er specifiek gekozen voor een bepaalde plaatsing van de dansers: vóór op het podium of in de rechter achterhoek of diagonaal over het toneel. Het heeft er letterlijk mee te maken of iets op de voorgrond geplaatst wordt of niet. De opstelling van de dansers ten opzichte van elkaar kan in bepaalde formaties zoals frontrij, kring, blok, maar ook heel 'los van elkaar' zijn. Doordat de danser zich verplaatst tijdens het dansen maakt hij als het ware een spoor op de vloer; het vloerpatroon. Het soort patroon: grillig, rechte lijnen, cirkels en dergelijke wordt opvallend in de dans als het vaker herhaald wordt. Daarmee wordt dan als het ware een

43

ruimte-indeling gemaakt. Muziek Dans wordt vaak ondersteund door muziek. De choreograaf kiest muziek bij zijn dans. Meestal gebeurt dat in een vroeg stadium van het ontwerpproces: muziek heeft namelijk een sterke zeggingskracht bij een dansstuk. Het tempo van de muziek, het ritme en het spanningsverloop spelen een belangrijke rol in het samengaan van dans en muziek. Bovendien kan de muziek illusies oproepen die in de dans niet direct zichtbaar zijn. De relatie van de dans met de gebruikte muziek kan sterk variëren; van helemaal gelijk oplopen, zodat er in de dans en de muziek gelijke sfeer en climax en naar voren komen, tot sterk contrasterend, bijvoorbeeld heel heftige dans bij een rustige melodische muziek. In Colours of Dance komen de klassieke werken van Petipa en Balanchine langs op klassieke muziek van Tsjaikovski, Bach, Wagner en Pugni. Er wordt ook gedanst op rockmuziek van Nina Hagen en de fado's van Dulce Pontes. Marius Petipa was een Frans balletdanser en choreograaf. Hij wordt als een van de invloedrijkste personen van het ballet ooit geëerd. Zelfs een eeuw na zijn dood, wordt de kunstvorm nog steeds gedomineerd door de erfenis die hij aan het ballet naliet. Petipa wordt evenzeer erkend voor de balletten die hij gecreëerd heeft; sommige zijn tot op heden nog bekend bij het publiek. Enkele voorbeelden hiervan zijn: Don Quichote (1869), The Sleeping Beauty (1890) en The Nutcracker (1892). George Balanchine is geboren in St. Petersburg, en geldt als een van de grootste choreografen van de twintigste eeuw. Hij werd al op 20-jarige leeftijd aangesteld bij Les Ballets Russes. Hij stichtte twee balletgezelschappen in Amerika en vond het belangrijk dat zijn dansers hun plezier en techniek in het dansen konden etaleren. Fado is het Portugese levenslied. Het is in Portugal een zeer gewaardeerde zangkunst en werd vroeger in armoedige kroegen gezongen. Fado neemt een bijzondere plek in, in het leven van ieder Portugees, vertaalt de gemoederen van zijn leven, verdriet, melancholie, blijheid, weemoed en niet te vergeten de feeststemming. Dulce Pontes is een Portugese zangeres en liedjesschrijfster. Haar liedjes droegen bij tot de opleving van Portugese folk en fado-muziek. Door een krachtige en dramatische stem gezegend is ze één van de bekendste en meest gerespecteerde Portugese zangeressen.

Wilt u meer weten over ballet? Kijk dan op de website www.dansmaar.nl

44

7.1.2 Questionnaire

The questionnaire is the same for the people who have received the criteria and the people who have not received the criteria, accept for the first question. This question was only present in the questionnaire for the people who have received the criteria.

Vragenlijst voor de bezoekers van Colours of Dance Geachte heer/ mevrouw, Het Stadstheater Zoetermeer zou graag kort willen peilen hoe tevreden u bent over de voorstelling van vanavond. Wij willen u daarom enkele vragen voorleggen. Het invullen van de vragenlijst duurt ongeveer 5 minuten. Alvast hartelijk dank voor uw medewerking! Stadstheater Zoetermeer In deze vragenlijst vindt u gesloten vragen, die u met ja of nee kunt beantwoorden. Daarnaast vindt u een aantal stellingen waarbij u kunt aangeven in welke mate u het hier mee eens of oneens bent.

1. Een gedeelte van de bezoekers van Colours of Dance heeft wat extra informatie over ballet en de voorstelling van vanavond gekregen. Hebt u deze informatie, of in ieder geval een gedeelte hiervan, gelezen? O O

Ja Nee

2. Hoe vaak gaat u gemiddeld per jaar naar het theater? O O O O

1-2 keer per jaar 3-5 keer per jaar 6-10 keer per jaar Vaker dan 10 keer per jaar

3. Heeft u een abonnement bij het theater of bestelt u de kaartjes voor voorstellingen los? O O O

Abonnement Losse kaarten Beide

45

4. Kunt u bij de volgende stellingen aangeven in welke mate u het eens of oneens bent met de stelling. Naar mijn mening heb ik veel kennis van ballet Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

In mijn groep vrienden, ben ik een van de experts op het gebied van ballet Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

Het gebeurt zelden dat ik een balletvoorstelling of balletgezelschap tegenkom, waar ik niet van heb gehoord Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

Ik weet vrij veel van ballet Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

Naar mijn mening heb ik niet veel kennis van ballet Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

In vergelijking met de meeste andere mensen, weet ik minder van ballet Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

Ik weet niet veel op het gebied van ballet Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

O

O

O

Ik heb van de meeste nieuwe voorstellingen op het gebied van ballet gehoord Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

46

5. Kunt u bij de volgende stellingen aangeven in welke mate u het eens of oneens bent met de stelling Het ballet, Colours of Dance: had vele unieke of speciale momenten Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

had een speciale betekenis voor mij Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

was net zo goed als ik had verwacht Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

heeft mij tevreden gesteld Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

was een van mijn beste ervaringen Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

was de prijs waard die ik ervoor betaald heb Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

Gedeeltelijk mee oneens

Mee oneens

Geheel mee oneens

O

O

O

O

O

O

O

Eventuele toelichting:__________________________________________________ ____________________________________________________________________ ____________________________________________________________________

47

6. Kunt u op een schaal van 1 tot 10 aangeven hoe tevreden u bent over de voorstelling Colours of Dance? 1

2

3

4

5

6

7

8

9

10

O

O

O

O

O

O

O

O

O

O

7. Wat is uw leeftijd: ………… Jaar

8. Wat is uw hoogst genoten opleiding? Indien u nog bezig bent met een opleiding kunt u de opleiding aankruisen die u op dit moment volgt.

Lagere school

O

Lager beroepsonderwijs, mavo of vmbo (ook: LTS, MULO, Huishoudschool, VGLO etc.)

O

Havo, vwo of middelbaar beroeps onderwijs (ook: HBS, MMS etc.)

O

Hoger beroeps onderwijs of wetenschappelijk onderwijs

O

Hartelijk dank voor uw medewerking! U kunt de enquête inleveren bij een van de personeelsleden van het Stadstheater.

48

7.2 Experiment 2: Theatre concert

7.2.1 Criteria Voor de bezoekers van de voorstelling Septeto Turquino staat hieronder wat aanvullende informatie over Cubaanse muziek en de voorstelling. Septeto Turquino & Dansorgel de Cubaan 15 Het legendarische Cubaanse son orkest Septeto Turquino en het dansorgel de Cubaan vormen de basis van deze bijzondere avond in Havana. Havana Night neemt het publiek mee op reis naar Havana, waar tot in de kleine uurtjes wordt gedanst, gedronken en gefeest. Septeto Turquino Voorloper en vernieuwer van de nieuwe Son, Rolando Ferrer Rosado, muzikaal leider, werd geboren in Santiago de Cuba, "The cradle of Son" en was al op vroege leeftijd aangetrokken door de Son. Met Luis Brito Cantero richt Rolanda in 1982 het originele Septeto Turquino op. De naam is afgeleid van de hoge Cubaanse berg "Pico Turquino". Vanaf het begin staat Septeto Turquino bekend om hun kwalitatief hoogstaand niveau; ze worden zelfs model voor het huidige bestaande septeto concept. Het was het eerste septeto waarin de clavés (handpercussie) worden vervangen door trommels. De introductie van trommels is een verdienste van Septeto Turquino. Septeto Septeto is in het Nederlands Septet en betekent een compositie voor zeven stemmen/ zangers of zeven instrumenten. Son De son-stijl is een meestal meerstemmige gezongen muziekstijl, meestal met begeleiding van een of meerdere gitaren Clavés De Clave is een doorlopend ritmisch patroon. Net zoals de noten op een notenbalk geïnterpreteerd moeten worden aan de hand van de sleutel die ervoor staat, bepaalt de clave de ritmische structuur van een muziekstuk. Samengevat betekent clave: sleutel tot het ritme. In de Cubaanse muziek wordt de clave op houten stokjes uitgevoerd: de clavés. Dansorgel de Cubaan De Cubaan, een klein Cubaans draaiorgel brengt Caraïbische muziek in een heel bijzondere uitvoering. Verrassend en toch gewoon! Het is een exotische variatie op het Hollandse draaiorgel van de straat. De Cubaan van Jaap de Kwaasteniet is een 36 toets draaiorgel. Het wordt begeleid met zang, conga's, bongo's, timbalitos, rasp en koebel door de percussionisten Jos Oey en Jochen Hachgenei. 15

www.earthbeat.nl

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Het ritme is een onmisbaar element in de Caraïbische muziek en dus werden de melodieën begeleid door percussie instrumenten. Dansorgel de Cubaan brengt als eerste in Europa deze muziekvorm ten gehore. Juist het repertoire van het dansorgel is zo uniek; van de rustige en romantische bolero naar de exotische klanken van de son uit Cuba en de opzwepende merengue uit Santo Domingo. Doordat de muziek op akoestische wijze wordt gebracht leent het zich zowel voor luister- als dansmuziek. De Cubaan werd in 1991 door Jaap de Kwaasteniet geformeerd. Doe je ogen dicht, neem een (Bacardi)cola, rook een dikke Havanna en luister naar de muziek van Septeto Turquino. Deze jonge, swingende Cubanen spelen heel Cuba plat en zetten nu ook ons koude kikkerlandje in vuur en vlam met verschillende soorten populaire Cubaanse muziek, zoals Son, Guaracha, Changüi, Guajira, Danzón, Chachacha, Bolero en Bolero-son. Boek alvast een enkeltje naar Cuba op 10 mei 16 . Wat zijn de andere stijlen van Cubaanse muziek naast Son? Danzon De danzon-stijl is een synthese van Franse barokmuziek (met name door middel van het instrumentarium, bestaande uit: dwarsfluit, violen, altviolen, cello, contrabas en piano, aangevuld met timbales, claves en conga) en Afrikaanse muziek, die in de veertiger en vijftiger jaren van de 20e eeuw populair werd. De danzon is een instrumentale stijl, bedoeld om paarsgewijs op te dansen. Typerend voor de danzon is de clave cinquillo. In de jaren zestig werd een montuno slot gebruikelijk Bolero De Bolero is een soort dans en muziekvorm. De bolero ontstond in Spanje aan het eind van de 18e eeuw en wordt door één danser of door een paar gedanst. De dans heeft een vrij langzaam tempo, en wordt uitgevoerd op zang met begeleiding van castagnetten en gitaar. In Cuba ontwikkelde de bolero zich tot een iets andere variant. In de jaren 50 van de twintigste eeuw werden gezongen bolero's zeer populair, vooral in Latijns-Amerika. Chachacha De cha-cha-cha is een dans die is ontstaan in Cuba en in het begin van de jaren 50 opdook in de Amerikaanse danszalen als stijldans. In 1953 ontstond de cha-cha-cha doordat het Cubaanse dansorkest 'America' uit Havana de Dazon begon te spelen met een extra gesyncopeerde tel, waardoor het klonk als een slow-mambo. Later werd dit verder aangepast tot de huidige dans ontstond: de cha-cha-cha, genoemd naar het geluid dat de zij-sluit-zijpasjes in het basisfiguur maken op de vloer. In de muziek spreekt men van een syncope wanneer een of meerdere tonen niet op de tel of puls vallen, waardoor een of meerdere normale accenten verlegd 16

www.stadstheater.nl

50

worden. De syncope wordt in de muziek gebruikt om het accent te verleggen, om het accent op een andere dan de gebruikelijke / verwachte plaats aan te brengen. De muziek waarop de cha-cha-cha gedanst wordt, heeft een vierkwarts-maat en kent een snelheid die standaard 32 tot 34 maten per minuut (beats per minute) bedraagt. Veel van de moderne popmuziek en discomuziek uit de jaren '70 en '80 is geschikt om een cha-cha-cha op te dansen, wat bijdraagt aan de populariteit van deze dans. De beste cha cha muziek is echter van LatijnsAmerikaanse orgine.

51

7.2.2 Questionnaire

The questionnaire is the same for the people who have received the criteria and the people who have not received the criteria, accept for the first question. This question was only present in the questionnaire for the people who have received the criteria.

Vragenlijst voor de bezoekers van Septeto Turquino Geachte heer/ mevrouw, Het Stadstheater Zoetermeer zou graag kort willen peilen hoe tevreden u bent over de voorstelling van vanavond. Wij willen u daarom enkele vragen voorleggen. Het invullen van de vragenlijst duurt ongeveer 5 minuten. Alvast hartelijk dank voor uw medewerking! Stadstheater Zoetermeer

In deze vragenlijst vindt u gesloten vragen, die u met ja of nee kunt beantwoorden. Daarnaast vindt u een aantal stellingen waarbij u kunt aangeven in welke mate u het hier mee eens of oneens bent.

1. Een gedeelte van de bezoekers van Septeto Turquino heeft wat extra informatie over Cubaanse muziek en de voorstelling van vanavond gekregen. Hebt u deze informatie, of in ieder geval een gedeelte hiervan, gelezen? O O

Ja Nee

2. Hoe vaak gaat u gemiddeld per jaar naar het theater? O O O O

1-2 keer per jaar 3-5 keer per jaar 6-10 keer per jaar Vaker dan 10 keer per jaar

3. Heeft u een abonnement bij het theater of bestelt u de kaartjes voor voorstellingen los? O O O

Abonnement Losse kaarten Beide

52

4. Kunt u bij de volgende stellingen aangeven in welke mate u het eens of oneens bent met de stelling. Naar mijn mening heb ik veel kennis van Cubaanse muziek Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens meen oneens O

O

O

In mijn groep vrienden, ben ik een van de experts op het gebied van Cubaanse muziek Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Het gebeurt zelden dat ik een Cubaanse muziekstijl tegenkom, waar ik niet van heb gehoord Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Ik weet vrij veel van Cubaanse muziek Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Naar mijn mening heb ik niet veel kennis van Cubaanse muziek Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

In vergelijking met de meeste andere mensen, weet ik minder van Cubaanse muziek Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Ik weet niet veel op het gebied van Cubaanse muziek Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Ik heb van de meeste nieuwe voorstellingen op het gebied van Cubaanse muziek gehoord Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

53

5. Kunt u bij de volgende stellingen aangeven in welke mate u het eens of oneens bent met de stelling Het theaterconcert, Septeto Turquino had vele unieke of speciale momenten Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

had een speciale betekenis voor mij Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

was net zo goed als ik had verwacht Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

heeft mij tevreden gesteld Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

was een van mijn beste ervaringen Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

was de prijs waard die ik ervoor betaald heb Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens

O

O

O

Eventuele toelichting:__________________________________________________ ____________________________________________________________________ ____________________________________________________________________

54

6. Kunt u op een schaal van 1 tot 10 aangeven hoe tevreden u bent over de voorstelling Septeto Turquino? 1

2

3

4

5

6

7

8

9

10

O

O

O

O

O

O

O

O

O

O

7. Wat is uw leeftijd: ………… Jaar

8. Wat is uw hoogst genoten opleiding? Indien u nog bezig bent met een opleiding kunt u de opleiding aankruisen die u op dit moment volgt. Lagere school

O

Lager beroepsonderwijs, mavo of vmbo (ook: LTS, MULO, Huishoudschool, VGLO etc.)

O

Havo, vwo of middelbaar beroeps onderwijs (ook: HBS, MMS etc.)

O

Hoger beroeps onderwijs of wetenschappelijk onderwijs

O

Hartelijk dank voor uw medewerking! U kunt de enquête inleveren bij een van de personeelsleden van het Stadstheater.

55

7.3 Experiment 3: Play

7.3.1 Criteria Voor de bezoekers van de voorstelling De Mexicaanse hond - wees ons genadig staat hieronder wat aanvullende informatie over toneel 17 en de voorstelling 18 . Muziektheatergezelschap Orkater (Orkest en Theater) werkt met een vaste groep theatermakers. Zij maken in uiteenlopende samenstellingen vooral muziektheater. Alle voorstellingen van Alex van Warmerdam komen uit onder de naam De Mexicaanse Hond en worden geproduceerd door Orkater. Van Warmerdam is verantwoordelijk voor het hele artistieke proces van zijn voorstellingen idee, tekst, regie, vormgeving en de muziek vormen een onlosmakelijke eenheid. De Mexicaanse hond – wees ons genadig Door de surrealistische wendingen en de suggestie dat alles een spel is, lijkt het verhaal zich af te spelen in het schemergebied van de halfslaap. De rollen worden vertolkt door Ariane Schluter, Pierre Bokma, Aat Ceelen en de Vlaamse zanger en acteur Stefaan Degand. Wees ons genadig vertelt het verhaal van een vierhoeksverhouding tussen drie mannen en een vrouw. De drie mannen beoefenen een kunstzinnig beroep, een schilder, een dichter en een componist. Alle drie dingen zij naar de gunsten van Katherina. Zij, op haar beurt, probeert het beste uit de mannen naar boven te halen, maar moet tot de conclusie komen dat zij de muze is van drie talentloze kunstenaars. Of zijn de drie mannen kleine meesters en is Katherina een talentloze muze? Echt opmerkelijk: het publiek ziet de drie personages op het podium hun best effort presenteren aan Katherina - Julius zijn mooiste schilderij, Simon zijn beste gedicht, Jack zijn definitieve prelude - , maar het krijgt de inhoud ervan niet te zien of te horen. 'Natuurlijk niet!', zegt Van Warmerdam. 'Dan zouden de toeschouwers meteen partij kiezen voor Katherina of de kunstenaar. Dat wil ik niet. Ze moeten blijven openstaan voor de standpunten van beide partijen.' Publiek en pers typeert het oeuvre van theater- en filmmaker Alex van Warmerdam graag als alledaags absurdisme met een suspense-achtige ondertoon. Zij laten zich door Van Warmerdam meevoeren naar een vervreemdend universum, waar de personages een uitgebeende taal spreken, maar ook lyrisch kunnen uitweiden. Zijn teksten zijn bondig en niet gespeend van zwarte humor waardoor de voorstellingen huiveringwekkend lachwekkend kunnen zijn. Het absurdisme is een filosofische stroming waarin wordt gesteld dat het leven in essentie geen betekenis heeft, het onmogelijk is rationeel te verklaren waarom er leven is en dat iedere poging om de essentie van het heelal te ontrafelen gedoemd is te mislukken.

17 18

www.muziektheater.nl www.orkater.nl

56

Hoe moet ik naar toneel kijken? Een toneelstuk (evenals andere theatervormen) omvat erg veel facetten dus je moet een bepaalde structuur aanbrengen om al die facetten goed te kunnen bekijken. De volgende aanwijzingen werken als een leidraad door een aantal van deze facetten van het toneelstuk. Wat is het onderwerp? Vaak is er een doorlopend verhaal in een toneelvoorstelling en zien we één of meer personen die een ontwikkeling doormaken. Maar het kan ook zo zijn dat de voorstelling is gemaakt rond een bepaald onderwerp of een thema zonder een doorlopend verhaal of met allerlei stukjes verhaal. Of dat bij het kijken een emotie of sfeer veel belangrijker is dan het verhaal. Wat zijn de belangrijkste personages? De personen die in het verhaal meespelen, noemen we personages of rollen. Dat zijn vaak "echte" mensen met karaktertrekken en emoties. Afhankelijk van het verhaal gebeurt er van alles met die personages: ze maken van alles mee en ze zorgen zelf ook dat ze hun stempel drukken op het verhaal. De personages handelen meestal niet zomaar maar hebben veelal motieven (beweegredenen) om het één wel te doen en het ander niet. Met name de belangrijkste personages maken meestal een ontwikkeling door in het stuk. Een van de recensies die te maken heeft met de personages: ‘Katherina blijkt vooral zelf bewonderd te willen worden en ook haar drie aanbidders vallen even genadeloos als humorvol door de mand: lui, zelfgenoegzaam, pathetisch, opportunistisch, en ook nog eens impotent.’ Zijn de situaties en gebeurtenissen opgenomen in een lopend verhaal? Naast een verhaal dat we van begin tot eind kunnen volgen, kunnen we in een voorstelling allerlei andere manieren tegenkomen waarop de situaties en gebeurtenissen gepresenteerd worden. Het verhaal kan bijvoorbeeld niet- chronologisch verteld worden, of kan onderbroken worden door liederen, dansen of bijvoorbeeld filmfragmenten. Verschillende verhaalfragmenten kunnen als een soort montage aaneengeregen zijn, of misschien is er wel een verteller die een soort rode draad aangeeft. Een tragisch verhaal loopt meestal noodlottig af, terwijl een komisch verhaal vaak een verassende clou aan het eind heeft. Bij een absurdistisch verhaal wordt de werkelijkheid op zijn kop gezet; vaak is er dan geen logisch verband tussen de getoonde scènes. Wie zijn de (belangrijkste) acteurs? De acteurs spelen een personage. Zij gebruiken hun lichaam als instrument om invulling te geven aan hun rol. Met de houding kun je van alles uitdrukken: een angstig persoon heeft een heel andere houding dan een blij mens. De acteur gebruikt ook beweging in het spel, bewegingen die uitdrukking geven aan een rol en/of een situatie. Het gaat niet alleen om lopen, maar om alle activiteiten om van houding of plaats te veranderen. Zo is omkijken al een vorm van beweging. Het gebruik van gebaren is een vorm van bewegen waarbij het gaat om het bewegen van afzonderlijke lichaamsdelen. De mimiek is de uitdrukking op het gezicht. Als een acteur iemand speelt die langzaam wakker wordt, dan dat heel

57

nadrukkelijk in de uitdrukkingen op het gezicht duidelijk worden gemaakt. Dan is er sprake van expressieve mimiek. Een van de recensies die te maken heeft met de acteurs: ‘Een zwaar onderkoelde Schluter (Katherina) laat zich met de meest vreselijke rotopmerkingen van haar komische beste kant zien.’ ‘Bokma weet met een enkele blik de totale tragiek van de gewezen schilder Julius te schetsen.’ ‘Ceelen (de dichter Simon) heeft een fijnsnarig gevoel voor timing en Degand (de componist Jack) vult het geheel mooi aan.’

58

7.3.2 Questionnaire

The questionnaire is the same for the people who have received the criteria and the people who have not received the criteria, accept for the first question. This question was only present in the questionnaire for the people who have received the criteria. Vragenlijst voor de bezoekers van De Mexicaanse hond - wees ons genadig Geachte heer/ mevrouw, Het Stadstheater Zoetermeer zou graag kort willen peilen hoe tevreden u bent over de voorstelling van vanavond. Wij willen u daarom enkele vragen voorleggen. Het invullen van de vragenlijst duurt ongeveer 5 minuten. Alvast hartelijk dank voor uw medewerking! Stadstheater Zoetermeer

In deze vragenlijst vindt u gesloten vragen, die u met ja of nee kunt beantwoorden. Daarnaast vindt u een aantal stellingen waarbij u kunt aangeven in welke mate u het hier mee eens of oneens bent.

1. Een gedeelte van de bezoekers van De Mexicaanse hond - wees ons genadig, heeft wat extra informatie over toneel en de voorstelling van vanavond gekregen. Hebt u deze informatie, of in ieder geval een gedeelte hiervan, gelezen? O O

Ja Nee

2. Hoe vaak gaat u gemiddeld per jaar naar het theater? O O O O

1-2 keer per jaar 3-5 keer per jaar 6-10 keer per jaar Vaker dan 10 keer per jaar

3. Heeft u een abonnement bij het theater of bestelt u de kaartjes voor voorstellingen los? O O O

Abonnement Losse kaarten Beide

59

4. Kunt u bij de volgende stellingen aangeven in welke mate u het eens of oneens bent met de stelling. Naar mijn mening heb ik veel kennis van toneel Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens

O

O

O

In mijn groep vrienden, ben ik een van de experts op het gebied van toneel Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Het gebeurt zelden dat ik een toneelstuk tegenkom, waar ik niet van heb gehoord Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Ik weet vrij veel van toneel Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Naar mijn mening heb ik niet veel kennis van toneel Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

In vergelijking met de meeste andere mensen, weet ik minder van toneel Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Ik weet niet veel op het gebied van toneel Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Ik heb van de meeste nieuwe voorstellingen op het gebied van toneel gehoord Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens

O

O

O

60

5. Kunt u bij de volgende stellingen aangeven in welke mate u het eens of oneens bent met de stelling Het toneelstuk, De Mexicaanse hond - wees ons genadig had vele unieke of speciale momenten Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

had een speciale betekenis voor mij Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

was net zo goed als ik had verwacht Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

heeft mij tevreden gesteld Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

was een van mijn beste ervaringen Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

was de prijs waard die ik ervoor betaald heb Geheel mee eens

Mee eens

Gedeeltelijk mee eens

Neutraal

O

O

O

O

Gedeeltelijk Mee oneens Geheel mee oneens mee oneens O

O

O

Eventuele toelichting:__________________________________________________

____________________________________________________________________ ____________________________________________________________________

61

6. Kunt u op een schaal van 1 tot 10 aangeven hoe tevreden u bent over de voorstelling de Mexicaanse hond - wees ons genadig? 1

2

3

4

5

6

7

8

9

10

O

O

O

O

O

O

O

O

O

O

7. Wat is uw leeftijd: ………… Jaar

8. Wat is uw hoogst genoten opleiding? Indien u nog bezig bent met een opleiding kunt u de opleiding aankruisen die u op dit moment volgt.

Lagere school

O

Lager beroepsonderwijs, mavo of vmbo (ook: LTS, MULO, Huishoudschool, VGLO etc.)

O

Havo, vwo of middelbaar beroeps onderwijs (ook: HBS, MMS etc.)

O

Hoger beroeps onderwijs of wetenschappelijk onderwijs

O

Hartelijk dank voor uw medewerking! U kunt de enquête inleveren bij een van de personeelsleden van het Stadstheater.

62

7.4 Differences between control group and experimental group Group Statistics

Criteria or not no criteria

Times a year theatre visiting

N

criteria Subscriber or single ticket buyer

no criteria criteria

age

no criteria criteria

education

no criteria criteria

Mean

Std. Deviation

Std. Error Mean

108

2.99

.803

.077

90

2.82

.869

.092

108

1.59

.749

.072

90

1.77

.720

.076

108

47.59

11.050

1.063

90

51.49

13.308

1.403

108

3.67

.580

.056

90

3.54

.706

.074

Independent Samples Test Levene's Test for Equality of Variances

F

Sig.

t-test for Equality of Means

t

Sig. (2tailed)

df

Mean Difference

Std. Error Difference

95% Confidence Interval of the Difference Lower

Times a year theatre visiting

Subscri ber or single ticket buyer

age

educati on

Equal variances assumed Equal variances not assumed Equal variances assumed

Equal variances not assumed Equal variances assumed Equal variances not assumed Equal variances assumed Equal variances not assumed

3.580

1.265

4.350

6.910

.060

.262

.038

.009

Upper

1.417

196

.158

.169

.119

-.066

.403

1.407

183.490

.161

.169

.120

-.068

.405

-1.657

196

.099

-.174

.105

-.381

.033

-1.663

192.058

.098

-.174

.105

-.381

.032

-2.251

196

.025

-3.896

1.731

-7.310

-.483

-2.214

173.110

.028

-3.896

1.760

-7.371

-.422

1.338

196

.183

.122

.091

-.058

.302

1.314

172.061

.191

.122

.093

-.061

.306

64