In order to apply for national or European funding for culture, it is more important than ever to identify the target audience in projects. Most of the time, it is an undefined, gray mass of people who are given an abstract label, such as intelligentsia. And it is chosen according to the following logic: if we show older people on stage or interpret classical dramaturgy, then it is a play for seniors. If we show children, it means that it is a play for children or teenagers. However, in the battle of labels, the most fascinating category wins – a performance for a young person whose age, according to the Law on the Basics of Youth Policy of the Republic of Lithuania1ranging from 14 to 29 years. Understand, from a teenager to a father of two. So what principles are used to form the target audience?
Every theater has a marketing department which is mainly concerned with effective sales. They are the only people in the theater, besides the dressers, who are more or less familiar with the theater audience. In 2019, “Teatro zurnalas” asked several Lithuanian theaters the question, who is the audience of your theater2. The Lithuanian National Drama Theater answered: “Educated, middle- and high-income viewers aged 36 and older.” The target audience is named without reproach, but what does this say about the theater and its repertoire?
The regulations of the Lithuanian National Drama Theater state that the theater undertakes to “develop a society receptive to professional performing arts and ensure the availability of professional performing arts for all groups of the country’s society”.3. How to explain the fact that in the current repertoire of the theater, which is obliged to serve the cultural needs of all the country’s inhabitants, only two out of forty plays are intended for children? And the rest of the repertoire is, in principle, aimed at the group of society with the highest purchasing power. This makes one wonder if “national” is just another dreamy label.
Let’s return to the research conducted by “Teatro zurnal”. Although there are doubts about the relevance of the theater production, the specific answer of the Lithuanian National Drama Theater allows us to draw a clear direction in the formation of the theater and its repertoire. However, not everyone was as successful in defining their audience as well. The response of the State Youth Theater was limited to “a curious, searching person”. Hence, the repertoire should interest the audience. However, what is interesting to one person may be boring to another.
Meanwhile, in 2017, a study of the state of marketing of Lithuanian theaters was carried out, funded by the Lithuanian Culture Council4 predicted the answers to the interview of “Teatro zurnal” which will appear in a few years. His conclusions read:
“Theatres tend to define their target audience either clearly too broadly or too vaguely.” Attracting a young audience is one of the most sensitive problems in the development of the theater market, the origins of which lie in perceiving marketing in the theater too narrowly – only as shaping the image of the theater, informing visitors or serving visitors, but not as a means of forming the repertoire.”
This is the latest theater audience research available in the search engine. Their results only confirm the fact that, although we consider ourselves a country of high theater culture, we know absolutely nothing about theater visitors. And marketing research that provides insufficiently detailed information about theatergoers is by no means a solution. In order to really get to know the dedicated theatergoers, we would need to conduct a fat and expensive audience survey. However, until any theater is willing to invest in creating relevant content that meets the needs of its audience, we will continue to be content with performances for “youth”.
On the other hand, should each theater be individually concerned with knowing its audience? Perhaps this is a dilemma that requires the intervention of the Ministry of Culture? After all, performances are not paintings that can preserve their art status for centuries, despite the ever-changing audience. Theater is an art that is born precisely during the encounter with the audience. Unfortunately, until we begin to get to know the theater audience better, theater repertoires will become more and more decorative and dependent only on the personal preferences of state theater managers and creators.
1 – Law on the Foundations of Youth Policy of the Republic of Lithuania (https://www.infolex.lt/teise/DocumentSinglePart.aspx?AktoId=31791&StrNr=2)
2 – Ramune Balevičiūtė. “What do theaters know about their audiences?” (I)” (https://www.bernardinai.lt/2019-11-30-ka-teatrai-zino-apie-savo-publika-i/)
3 – Regulations of the Lithuanian National Drama Theater (https://www.teatras.lt/lt/administracine-informacija/administracine-informacija/nuostatai/)
4 – Marketing of Lithuanian theaters: status and recommendations (https://www.kulturostyrimai.lt/wp-content/uploads/2018/02/LTRBR.pdf)
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#Vilnelė #theatergoers #Culture
**Interview with Dr. Lina Kvedaraviciute, Cultural Demographics Analyst**
**Interviewer:** Thank you for joining us, Dr. Kvedaraviciute. Your insights into audience demographics, particularly in the context of theaters, are fascinating. What do you think are the biggest challenges theaters face when identifying their target audience?
**Dr. Kvedaraviciute:** Thank you for having me. One of the primary challenges is the tendency to categorize audiences too broadly or too vaguely. For instance, calling a demographic “intelligentsia” or labeling shows as meant for “youth” without specific age parameters fails to capture the true diversity within these groups. This lack of clarity can lead to programming that does not genuinely cater to the interests and needs of potential theatergoers.
**Interviewer:** You mentioned in your analysis that the Lithuanian National Drama Theater identifies its audience as “educated, middle- and high-income viewers aged 36 and older.” What implications does this have for their repertoire?
**Dr. Kvedaraviciute:** This demographic clearly reflects the theater’s inclination toward high-income groups, which is a missed opportunity for outreach. The commitment to serve all society means they should also create accessible and appealing performances for younger audiences or families. Otherwise, they risk alienating significant portions of the community, despite their stated mission.
**Interviewer:** Interesting point. How do you believe marketing strategies could evolve within theater organizations to better reach and engage a diverse audience?
**Dr. Kvedaraviciute:** Marketing must go beyond mere image-building or event promotion. It could incorporate audience research methodologies that gather data about preferences and demographics. By actively engaging potential theatergoers through surveys and community input, theaters can tailor their offerings. This data-driven approach would help inform repertoire choices in a way that resonates with various audience groups.
**Interviewer:** Considering your insight into the current landscape, do you think the Ministry of Culture should take on a more proactive role in audience research for theaters?
**Dr. Kvedaraviciute:** Absolutely. A coordinated effort led by the Ministry could standardize audience research efforts across theaters, creating a centralized database of information. This way, theaters won’t be working in silos, and they can collaboratively learn about their audiences to make informed decisions, leading to richer and more inclusive cultural offerings.
**Interviewer:** Lastly, Dr. Kvedaraviciute, what can theaters do today to begin to foster a stronger connection with their audiences?
**Dr. Kvedaraviciute:** They should prioritize creating open dialogue with their communities to understand their cultural needs better. Hosting community forums, workshops, or creative events where audience members can express their interests would be a great start. Engaging with audiences should be a continuous process, rather than a one-time effort tied to a specific production or season.
**Interviewer:** Thank you, Dr. Kvedaraviciute. Your insights highlight the importance of understanding audience dynamics in enhancing the theatrical experience and ensuring cultural relevance.
**Dr. Kvedaraviciute:** Thank you for exploring this crucial topic with me. It’s vital for the future of theater.
