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Methodology of (Non-)visitor Research

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Non-Visitor Research

Part of the book series: Edition WÜRTH Chair of Cultural Production ((EWCCP))

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Abstract

To provide a differentiated perspective on what qualifies visitors and non-visitors of arts and culture organisations, a mixed-methods approach was used for the presented study, combining quantitative and qualitative methods. The quantitative approach was chosen to obtain an overview of the living conditions (demography, social environment, preferences, etc.) of visitors and non-visitors. To gather these data, a standardised questionnaire was used. This survey was developed with the help of previous studies on the behaviour of visitors and non-visitors and their reasons for visiting or not visiting arts organisations. Existing sets of questions from previous studies were integrated in the present study, used in parts or modified for the specific purpose of this study. In this way, a partial comparability to earlier studies was achieved. In the qualitative-experimental part of the study, non-visitors were invited to visit a contemporary theatre (Schaubühne am Lehniner Platz), a repertory opera house (Deutsche Oper) or a community-based performing arts organisation (Neuköllner Oper).

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Notes

  1. 1.

    See, in the introductory chapter, Deutscher Bühnenverein (German Stage Association) (2003); Hood (1983); Höge (2016); Prentice, Davies and Beeho (1997).

  2. 2.

    In comparison, a broad concept of culture would also include the alternative project spaces and initiatives that exist outside traditional, institutionalised arts and culture venues, as well as rock and pop concerts, musicals, etc.

  3. 3.

    See Statista (2021).

  4. 4.

    Kirchberg and Tröndle (2015, p. 176).

  5. 5.

    Arts Council England (2003, p. 94).

  6. 6.

    Höge (2016, pp. 101f).

  7. 7.

    Hood (1983, p. 105).

  8. 8.

    Höge (2016, p. 104).

  9. 9.

    Hood (1983); Hendon (1990).

  10. 10.

    Hood (1983, p. 51).

  11. 11.

    Deutscher Bühnenverein (2003).

  12. 12.

    Bartsch et al. (2016); Renz (2016).

  13. 13.

    Deutscher Bühnenverein 2003, p. 21.

  14. 14.

    Bourdieu and Darbel (2006 (original 1966), p. 67).

  15. 15.

    See Bourdieu (1987, p. 135).

  16. 16.

    For the history of this discourse, see Steigerwald (2021).

  17. 17.

    See also Tröndle and Tschacher (2016).

  18. 18.

    See Hood (1983, pp. 108f.); German Stage Association (2003, p. 7).

  19. 19.

    See Deutscher Bühnenverein (2003, p. 8).

  20. 20.

    See ibid., p. 11.

  21. 21.

    Bourdieu and Darbel (2006 (original 1966)).

  22. 22.

    Tschacher, Bergomi and Tröndle (2015).

  23. 23.

    See ibid.

  24. 24.

    ‘Neuköllner Oper: The city and its people on stage,’ Berlin Bühnen, retrieved 9 March 2021, https://www.berlin-buehnen.de/en/theatres/neukoellner-oper.

  25. 25.

    ‘Architecture,’ Schaubühne, retrieved 9 March 2021, https://www.schaubuehne.de/en/pages/architecture.html.

  26. 26.

    ‘Profile,’ Schaubühne, retrieved 9 March 2021, https://www.schaubuehne.de/en/pages/theatre-profile.html.

  27. 27.

    ‘Deutsche Oper Berlin,’ Wikipedia, retrieved 6 June 2018, https://www.de.wikipedia.org/wiki/Deutsche_Oper_Berlin.

  28. 28.

    Mayring (2002, p. 77).

  29. 29.

    See ibid., p. 66.

  30. 30.

    Strauss and Corbin (1996).

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Authors and Affiliations

  1. WÜRTH Chair of Cultural Production, Zeppelin University, Friedrichshafen, Germany

    Martin Tröndle

  2. Zeppelin University, Friedrichshafen, Germany

    Elias Keßler, Thomas Kuhn & Karina Reisenegger

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  1. Martin Tröndle
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  2. Elias Keßler
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  4. Karina Reisenegger
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Correspondence to Martin Tröndle .

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  1. WÜRTH Chair of Cultural Production, Zeppelin University, Friedrichshafen, Germany

    Martin Tröndle

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Tröndle, M., Keßler, E., Kuhn, T., Reisenegger, K. (2022). Methodology of (Non-)visitor Research. In: Tröndle, M. (eds) Non-Visitor Research. Edition WÜRTH Chair of Cultural Production. Palgrave Macmillan, Wiesbaden. https://doi.org/10.1007/978-3-658-35181-6_2

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