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According to Rob van Rooyen, it is imperative to determine who the market is, their location, their quantity, the market's purchasing and usage lifestyles, their knowledge and expectations and the market's needs and attitudes. In Chapter 3: Market analysis, conducting a market analysis helps a business to 1) Prepare to move into a new market, 2) Unveil a new service/product and 3) Start a new organization. The complete process of a market analysis includes: defining the problem; analyzing the situation at hand; finding information applicable to the problem; analyzing and interpreting the problem; finding ideas and solving problems and finally developing your market plan (2012: 70). All of the aspects need to be considered in structuring a market analysis: size and growth, profitability, cost structure, distribution systems, market trends, and the key success factors (2012: 70).
As report one stated, one of the big problems in theatre in South Africa is a shrinking older audience according to an article in the Mail and Guardian, because theatre is not easily accessible, expensive and does not cater for a larger audience. The younger audience is not always exposed to theatre in a way that they can identify with (Meersman 3 July 2012). If one can introduce theatre-going culture at a young age, the possibility for this culture to continue throughout their lives, and in time can create a revival for South African theatre.
According to an online English lecture, by Anne Warren, about understanding drama, plays are written to be performed and that means that visual aspects of it are very important, a gesture, certain symbolism, beats and emotions can only be fully appreciated when it is visually presented to an audience. The play is also a means to communicate certain themes, meaning that each character needs to be analyzed both as an individual and as part of the illustration of the themes (Warren 2007). This makes the fact that children in school are often only exposed to the written play, in language and drama studies problematic, especially if you look at Meersmans article that recognizes that many theatre audiences, started going to theatre because of plays that they saw in school thanks to committed teachers that went the extra mile. Meerman also recognizes that this is where South Africa needs to start, if it wants to have bigger audiences in the future (Mail and Guardian 3 July 2012). High schools have been identified here as a primary market segment. Travelling theatre companies performing the prescribed plays at different Afrikaans, English and Bilingual scholarly institutions, presents the opportunity for the educational market, which we feel is lacking the necessary resources and therefore offers the possibility such a company to be created.
Movies are sometimes used in classes as a substitute for theatre performances but Ann Warren warns that audiences should keep in mind that film is a different form of media that uses different visual devises and effects because of a different visual language it employs, it also does not share theatre's interactive nature (Warren 2007). This leaves a large gap for theatre to fill. The National curriculum and assessment policy statement grades 10 - 12 English home language, states that literature in the syllables is there to broaden the students ideas about the use and structure of language. They want children to engage in group discussions about the different texts and advise that texts be read in class without interruption from other activities (2012: 14). Reading then takes up class time that could have gone into discussion and proper engagement with the text; it is fragmented because class periods are not that long, According to prescribed time divisions about four and a half hours a week (Basic Education 2012: 11) and without the very important visual element plays were written to have (Warren 2007). But if students are given an opportunity to see the play and interact with the actors they would have a broader framework to work from in class discussions than only the written text that means that less time would be spent on discussing what the visual should actually look like.
Educational, theatre-based workshops revolving around the curriculum for each year group from ages 10-19 that give children the possibility to, regardless of background or school, to collaborate their own ideas of the prescribed work and turning it into a modern, collective that is applicable on their lives and context. There seems to be an opening in this market, as these workshop's focus and aim revolves around self-conceptualization, independent thinking, social skills and confidence building. Theatre can also be an opportunity for children that are homeschooled, or study online to come together, bond and have discussions, to develop basic social skills and interact with their peers, something children in the school system take for granted. According to Jennifer Pencek, of Pennsylvania University, this turns the performance into both a social and educational event for the homeschooling group (Pencek 2011).
Even when it comes to younger children that do not engage with literature on deeper, more analytical level it is important that they are exposed to theatre, a survey done in by Visit Burninghum on 1200 parents with children between the ages of 5 to 12, most of them expected schools to take responsibility for their children's historical and cultural education and only one quarter of the children in the study have ever been to a theatre production (Elkin 2012). This while The Manhattan New Victory theatre's director of education stresses the advantages of exposing children to the theatre, like language development, expression empathy and decision making skills (Arts Insider 2012). Applied theatre that encompasses Theatre in Education, Drama in Education, and Theatre for Development presents a market opportunity for students in primary education, as they are still receptive for new ideas and still eager to learn. These types of theatres present visual education as an alternative to verbal-based education that seems almost out of place in a constantly developing visual world.
Many children are taught at a very young age that they are not creative and therefore cannot create something original. This has left these children with a lasting impression of not being creators, completely disregarding their possible interest in creative practices. Establishing a "Theatre-Olympics" where children are challenged to compete in various theatre games and construct original pieces of work by using improvisation. A comfortable environment is generated for these children to 'think-on-their-feet' and produce work that is true to themselves, by giving them the chance to become at ease with who they are and performing in front of others.
And is this not what theatre is about? To find and display the truth by engaging in imaginary circumstances. Aforementioned market analysis explains the wide range of opportunities in our market and all the possibilities that revolves around this market.
Arts Insider. 2012. Exposing Kids to Arts Helps Them. Available [O]: http://www.richlandpac.com/education/arts-insider/kids-to-arts/ Accessed: 2 September 2012
Department: Basic Education Republic of South Africa. 2012. The National curriculum and assessment policy statement grades 10 - 12 English home language. Available [O]: www.thutong.doe.gov.za/ResourceDownload.aspx?id=44654. Accessed: 3 September 2012
Du Plessis, F, van Heerden, N, & Cook, Gordon. (eds.) 2010. Advertising- Chapter 3. In: Integrated Marketing Communication. Pretoria: Ven Schaick Publishers.
Elkin, S. 2012. The independent blogs: Too few kids are getting cultural experiences. Available [O]: http://blogs.independent.co.uk/2012/02/16/too-few-kids-are-getting-cultural-experiences/ Accessed: 2 September 2012
Jooste, CJ, Strydom, JW, Berndt, A & Du Plessis, PJ. (eds.) 2012. Applied Strategic Marketing. Cape Town: PearsonEducation South Africa.
Meersman, B. 2012. Mail and Guardian: State of the Arts: Where is the audience? 03 Jul 2012 13:07. Available [O]. http://mg.co.za/article/2012-07-03-state-of-the-arts-where-is-the-audience/. Accessed: 20 Augustus 2012
Pencek, J.2011. Family members and teachers stress benefits of exposing children to the performing arts. Available [O]: http://www.cpa.psu.edu/features/impact03.html. Accessed 2 September 2012
Warren, A. 2007. Lecture 8: Drama: Understanding Drama; Plot. Available [O]: http://www.somanybooks.org/eng102/Lect8.htm. Accessed: 3 September 2012