The data arises from the studies of Alternativa Teatral, together with Enfoque Consumos Culturales.
the piaff Elena Roger continued to sell out tickets with her “sparrow.”
Shortly after closing the year, the Theatrical balance indicates that pre-pandemic viewership rates have returned and even higher. He started with a record summer which was replicated during 2023, with an unavoidable push from tourism. According to the latest study of Theatrical Alternative together with Cultural Consumption Approachwho investigated the behavior of audiences, the role of social networks, affectivity and group identification are key both in the approach of new audiences as in maintaining the relationship of the spectators with the theater.
For him 70% of the publichaving someone to go see a play with is key. 56% choose friends and 43% prefer to go as a couple. Participation is greater in those who do it with friends. The links have a fundamental influence on the approach of new audiences to the performing arts: most of those who go for the first time do so because someone took them. When asked how to find out about works on the poster, the main sources were Instagram (47%)recommendations from family, friends and acquaintances (39%) and Theatrical Alternative to know the opinions of the public (32%). Social networks gained ground among the main sources of information and although this trend was observed before the pandemic, the use of Social networks strengthened in the post-pandemic.
The weight comes from the recommendation, especially in pairs, when choosing a work or the experience that is completed with the subsequent outing, for dinner or a drink, where they talk about what they have seen. So, the place of non-virtual networks also contribute to the construction of tastes and habits. For 7 out of 10 people it is important have someone’s company to go to the theater. On the other hand, 9 out of 10 carry out some subsequent activity, mainly go to dinner (60%) or have a drink (23%)where the works seen are also discussed.
The report arises from surveys and face-to-face interviews, before and after the performances, in Doorbell 4, Border, The Kairos Method, Guevara’s Shed and Abroad. He aimed to understand how the participation experience occurred to evaluate whether transformations had occurred in consumption, after a 2020 of closed rooms and exclusively virtual consumption, a 2021 return with reduced capacity and health protocols, and a 2022 attendance reboundto arrive in 2023 to the “new” normal.
The public consulted observed that The attendance at the rooms was joyful and enthusiasm like a kind of rematch combined with a revaluation, after having had to interrupt the practice for a long time. The selection criteria for the works are also influenced by the sociability. The most valued suggestions are, for the 86%those that come from peers, especially among people under 49 years of age.
The various reasons why new audiences explain their initiation into the performing arts They also account for role of link networks in contact with new cultural consumption practices. He 37% came because someone took them; 27% looking for different experiences; 27% because they started studying performing arts or related careers; and 14% for practical reasons that facilitated access.
It is concluded that the relevance of the social fabric in the approach and maintenance of the relationships of the public with the cultural offers may have strengthened in the post-pandemic, after a time in which it was not possible to meet. From the survey it appears that 6 out of 10 people modified their frequency of participation in the post-pandemic: 29% attend more and 29% less. The main reasons for the increase in attendance are the interest in supporting independent theater, the desire to attend more after having suffered the interruption of this practice, and a greater attraction for the current offer. On the other hand, those who participate less attribute it to a less availability of timeto economic aspects and to loss of habit.
One fact to highlight is that, both among those who increased attendance at this stage, and among new audiences, There is a greater proportion of young people. Among the changes in habits in the post-pandemic consulted through the survey there are transformations prior to going to the theater that show that it is preferred not to take risks when choosing. Half of the people make a more exhaustive selection of the works: 51% say they get more information about what they want to see before purchasing a ticket and 46% who choose the works with greater precision. The economic crisis also has an impact: 45% pay more attention to the cost of entry.
The most viewed works in the commercial circuit from the last week of November until December 3 They were “Piaf”, “Fuerza Bruta”, “The King’s Musketeers”, “Tom, Dick and Harry”, with Mariano Martínez, Gabriela Sari and Jorge Noya at the Multiteatro; Connie Ballarini’s stand up at Maipo; “What the river does”, by the Marull sisters at Astros; “Toc Toc”, with 13 seasons on the billboard at the Multiteatro; “Antígona in the bathroom”, comedy with Verónica Llinás, Héctor Díaz and Esteban Lamothe in the Astral; “How to Start a Fire”, by and with Gonzalo Heredia, with Eugenia Tobal, Laura Azcurra and Nicolás García Hume, at the Multiteatro; and “Coqueluche”, adapted by José María Muscari, at the Multiteatro.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
