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Non-visitors in Conversation

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Non-Visitor Research

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

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Abstract

In the statistical analysis of the survey, we have so far been able to draw conclusions about general factors associated with attendance and non-attendance at arts and culture organisations. Thus, while the focus so far has been on clarifying general factors influencing (non-)visiting, this chapter examines the specific experience of an opera and a theatre performance.

We thank Hannes Büttner for his contribution.

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Notes

  1. 1.

    These were 77 pre-visit respondents and 78 post-visit respondents, for a total of 155 individual respondents in a total of 24 groups.

  2. 2.

    When analysing the pre-visit interviews, the category ‘venue’ was coded 24 times, taken together with its subcategory ‘architecture.’ Furthermore, the subcategory ‘architecture’ was subdivided in terms of the attributes ‘interior’ (6 mentions), ‘exterior’ (3 mentions) and ‘general’ (also 3 mentions). From these quantitatively bundled statements, the qualitatively most meaningful descriptions are explained in more detail in the following analysis.

  3. 3.

    Deutsche Oper, 27.10.17, pre-visit interview 3, paras. 16, 19; Schaubühne, 26.10.17, pre-visit interview 1, para. 27; Neuköllner Oper, 27.10.17, pre-visit interview 1, para. 50.

  4. 4.

    Deutsche Oper, 27.10.17, pre-visit interview 3, paras. 52, 54.

  5. 5.

    Ibid., para. 16; Deutsche Oper, 27.10.17, pre-visit interview 4, para. 23.

  6. 6.

    Neuköllner Oper, 27.10.17, pre-visit interview 1, para. 50.

  7. 7.

    Neuköllner Oper, 10/26/17, pre-visit interview 3, para. 38.

  8. 8.

    Schaubühne, 10/26/17, pre-visit interview 1, para. 41.

  9. 9.

    Ibid., para. 28.

  10. 10.

    Ibid., para. 41.

  11. 11.

    In the analysis of the pre-visit interviews, the category ‘event’ was coded 151 times and thus represents the most frequently mentioned category among the pre-visit interviews. This category was divided into six different subcategories based on the data available from the interviews: ‘staging’ (64 mentions), ‘content’ (27 mentions), ‘music’ (24 mentions), ‘actors’ (6 mentions), ‘pacing’ (6 mentions) and ‘set design’ (2 mentions). The last three subcategories are only analysed in the post-visit interviews due to their qualitatively low informative value.

  12. 12.

    Deutsche Oper, 27.10.17, pre-visit interview 2, para. 53; Deutsche Oper, 26.10.17, pre-visit interview 2, para. 16.

  13. 13.

    Schaubühne, 10/25/17, pre-visit interview 2, para. 17.

  14. 14.

    Neuköllner Oper, 26.10.17, pre-visit interview 2, para. 40.

  15. 15.

    Deutsche Oper, 27.10.17, pre-visit interview 3, paras. 9, 40.

  16. 16.

    Ibid., para. 31.

  17. 17.

    Deutsche Oper, 26.10.17, pre-visit interview 2, para. 26.

  18. 18.

    Schaubühne, 25.10.17, pre-visit interview 3, para. 32.

  19. 19.

    Deutsche Oper, 27.10.17, pre-visit interview 2, para. 26.

  20. 20.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 42.

  21. 21.

    Neuköllner Oper, 27.10.17, pre-visit interview 1, para. 15.

  22. 22.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 10.

  23. 23.

    See also the consideration of the role of one’s circle of friends in the next section.

  24. 24.

    Schaubühne, 27.10.17, post-visit interview 1, para. 15.

  25. 25.

    Neuköllner Oper, 27.10.17, pre-visit interview 1, para. 23.

  26. 26.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 11ff.

  27. 27.

    Deutsche Oper, 26.10.17, pre-visit interview 2, para. 26.

  28. 28.

    Deutsche Oper, 28.10.17, pre-visit interview 1, paras. 38, 42, 44.

  29. 29.

    Ibid., para. 45.

  30. 30.

    Deutsche Oper, 27.10.17, pre-visit interview 1, para. 29.

  31. 31.

    Schaubühne, 27.10.17, pre-visit interview 2, para. 10.

  32. 32.

    Neuköllner Oper, 10/28/17, pre-visit interview 2, para. 34.

  33. 33.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 43.

  34. 34.

    The category ‘audience’ captures expectations and perceptions with regard to visitors to arts and culture organisations. It was assigned a total of 91 times and is divided into the subcategories ‘habitus’ and ‘demographics.’ A total of 51 mentions refer to the subcategory ‘habitus’ and 24 mentions to the subcategory ‘demographics.’

  35. 35.

    Neuköllner Oper, 28.10.17, pre-visit interview 1, para. 25.

  36. 36.

    Deutsche Oper, 27.10.17, post-visit interview 1, para. 46.

  37. 37.

    Deutsche Oper, 26.10.17, post-visit interview 2, para. 35.

  38. 38.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 29.

  39. 39.

    Neuköllner Oper, 28.10.17, pre-visit interview 2, para. 23.

  40. 40.

    Deutsche Oper, 26.10.17, pre-visit interview 2, para. 55.

  41. 41.

    Ibid.

  42. 42.

    Ibid.

  43. 43.

    Schaubühne, 25.10.17, pre-visit interview 3, para. 41.

  44. 44.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 29.

  45. 45.

    Deutsche Oper, 28.10.17, post-visit interview 1, para. 59.

  46. 46.

    Schaubühne, 27.10.17, post-visit interview 1, para. 28.

  47. 47.

    Neuköllner Oper, 26.10.17, pre-visit interview 2, para. 13.

  48. 48.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 29

  49. 49.

    Deutsche Oper, 26.10.17, pre-visit interview 1, para. 31.

  50. 50.

    Deutsche Oper, 27.10.17, pre-visit interview 3, para. 29; Deutsche Oper, 10/28/17, post-visit interview 1, para. 59.

  51. 51.

    Deutsche Oper, 27.10.17, pre-visit interview 4, para. 32.

  52. 52.

    Neuköllner Oper, 26.10.17, pre-visit interview 3, para. 25.

  53. 53.

    Schaubühne, 26.10.17, pre-visit interview 1, para. 25.

  54. 54.

    Deutsche Oper, 27.10.17, pre-visit interview 2, para. 68.

  55. 55.

    Ibid.

  56. 56.

    Deutsche Oper, 26.10.17, pre-visit interview 2, para. 45.

  57. 57.

    Schaubühne, 27.10.17, pre-visit interview 1, para. 17.

  58. 58.

    Neuköllner Oper, 26.10.17, pre-visit interview 1, para. 20.

  59. 59.

    Deutsche Oper, 26.10.17, pre-visit interview 2, paras. 44f.

  60. 60.

    In the evaluation of the post-visit interviews, the categories developed in the analysis of the pre-visit interviews for considering the performance venue were supplemented by the markers ‘positive’ and ‘negative’ in order to be able to make statements about the respective evaluation tendency. Overall, it can be seen that the topic of the performance venue was discussed much more extensively in the post-visit interviews, with around 50 mentions, than was the case with 24 mentions prior to the visit to the event. In addition, the statements are largely concentrated on the interior and have mostly positive connotations (38 ‘positive’ mentions and 18 ‘negative’ mentions).

  61. 61.

    Deutsche Oper, 27.10.17, post-visit interview 1, para. 36; Deutsche Oper, 27.10.17, post-visit interview 3, para. 92.

  62. 62.

    Ibid.

  63. 63.

    Ibid.

  64. 64.

    Deutsche Oper, 27.10.17, post-visit interview 1, para. 36.

  65. 65.

    Ibid., paras. 31, 36.

  66. 66.

    Ibid., para. 31.

  67. 67.

    Ibid., para. 36.

  68. 68.

    Ibid.

  69. 69.

    Deutsche Oper, 27.10.17, post-visit interview 1, para. 31.

  70. 70.

    Schaubühne, 26.10.17, post-visit interview 1, para. 28.

  71. 71.

    Schaubühne, 27.10.17, post-visit interview 2, para. 15.

  72. 72.

    Neuköllner Oper, 26.10.17, post-visit interview 2, paras. 61, 66; Neuköllner Oper, 28.10.17, pre-visit interview 2, para. 13.

  73. 73.

    Deutsche Oper, 26.10.17, post-visit interview 2, para. 9.

  74. 74.

    Ibid., para. 32.

  75. 75.

    Ibid., para. 39.

  76. 76.

    Deutsche Oper, 27.10.17, post-visit interview 1, para. 44.

  77. 77.

    In the post-visit interviews, comments concerning the event in general were recorded most frequently. In total, approximately 360 mentions were made under this code. However, as expected, the respondents gave a differentiated picture of the event after the performance, with the result that the category ‘event’ comprises approximately twice as many subcategories in the post-visit interviews compared to the pre-visit interviews. These include, for example, specifications such as ‘stage design’ (44 mentions), ‘content’ (61 mentions), ‘staging’ (148 mentions), ‘music’ (41 mentions), ‘actors’ (44 mentions), which were additionally assigned the markers ‘positive’ and ‘negative.’

  78. 78.

    Neuköllner Oper, 28.10.17, pre-visit interview 1, para. 38.

  79. 79.

    Deutsche Oper, 27.10.17, post-visit interview 3, para. 30.

  80. 80.

    Deutsche Oper, 26.10.17, post-visit interview 2, para. 14.

  81. 81.

    Deutsche Oper, 27.10.17, post-visit interview 1, paras. 84ff.

  82. 82.

    Ibid., para. 90.

  83. 83.

    Ibid., para. 11.

  84. 84.

    Ibid., para. 17.

  85. 85.

    Ibid., para. 68.

  86. 86.

    Deutsche Oper, 26.10.17, post-visit interview 2, para. 20.

  87. 87.

    Deutsche Oper, 27.10.17, post-visit interview 1, paras. 13, 17.

  88. 88.

    Neuköllner Oper, 27.10.17, post-visit interview 1, para. 13.

  89. 89.

    Neuköllner Oper, 28.10.17, post-visit interview 2, para. 22.

  90. 90.

    Neuköllner Oper, 28.10.17, post-visit interview 1a, para. 13.

  91. 91.

    Ibid., para. 39.

  92. 92.

    Neuköllner Oper, 28.10.17, post-visit interview 1a, para 18.

  93. 93.

    Ibid.

  94. 94.

    Schaubühne, 25.10.17, post-visit interview 3, para. 48.

  95. 95.

    Ibid., para. 51.

  96. 96.

    Schaubühne, 27.10.17, post-visit interview 2, para. 11.

  97. 97.

    Schaubühne, 26.10.17, post-visit interview 1, para. 26.

  98. 98.

    Deutsche Oper, 26.10.17, post-visit interview 2, para. 39; Neuköllner Oper, 28.10.17, post-visit interview 1a, para. 13.

  99. 99.

    Schaubühne, 27.10.17, post-visit interview 2, para. 21.

  100. 100.

    Neuköllner Oper, 28.10.17, post-visit interview 2, para. 37.

  101. 101.

    During the post-visit interviews, the category ‘audience’ was coded a total of 168 times. Around 90 statements related to the subcategory ‘habitus’ and 55 statements to the subcategory ‘demographics.’

  102. 102.

    Neuköllner Oper, 28.10.17, pre-visit interview 1, para. 15.

  103. 103.

    Neuköllner Oper, 27.10.17, post-visit interview 2, paras. 28ff.

  104. 104.

    Deutsche Oper, 28.10.17, pre-visit interview 1, para. 61.

  105. 105.

    Schaubühne, 27.10.17, post-visit interview 1, para. 22.

  106. 106.

    Neuköllner Oper, 26.10.17, post-visit interview 2, para. 55.

  107. 107.

    Neuköllner Oper, 26.10.17, pre-visit interview 3, para. 38.

  108. 108.

    Neuköllner Oper, 28.10.17, post-visit interview 1a, para. 37.

  109. 109.

    Schaubühne, 25.10.17, post-visit interview 3, para. 53.

  110. 110.

    Deutsche Oper, 27.10.17, post-visit interview 3, para. 48.

  111. 111.

    Deutsche Oper, 28.10.17, post-visit interview 1, para. 45.

  112. 112.

    Deutsche Oper, 26.10.17, post-visit interview 2, para. 35.

  113. 113.

    Ibid., para 34.

  114. 114.

    Neuköllner Oper, 28.10.17, pre-visit interview 1, para. 36.

  115. 115.

    Neuköllner Oper, 28.10.17, post-visit interview 1a, para. 38.

  116. 116.

    Neuköllner Oper, 28.10.17, pre-visit interview 1, para. 36.

  117. 117.

    Neuköllner Oper, 28.10.17, post-visit interview 2, para. 22.

  118. 118.

    Schaubühne, 27.10.17, post-visit interview 1, para. 31.

  119. 119.

    Ibid., para. 24.

  120. 120.

    Ibid., para. 22.

  121. 121.

    Deutsche Oper, 27.10.17, pre-visit interview 4, para. 32.

  122. 122.

    Deutsche Oper, 27.10.17, pre-visit interview 2, para. 70.

  123. 123.

    Deutsche Oper, 28.10.17, post-visit interview 1, para. 47.

  124. 124.

    Ibid., para 54.

  125. 125.

    Ibid.

  126. 126.

    Deutsche Oper, 27.10.17, post-visit interview 4, para. 21.

  127. 127.

    Deutsche Oper, 27.10.17, post-visit interview 1, para. 44.

  128. 128.

    Deutsche Oper, 27.10.17, post-visit interview 4, para. 22.

  129. 129.

    Schaubühne, 26.10.17, post-visit interview 1, para. 54.

  130. 130.

    Neuköllner Oper, 28.10.17, post-visit interview 1, para. 33.

  131. 131.

    Deutsche Oper, 27.10.17, pre-visit interview 4, para. 32.

  132. 132.

    Neuköllner Oper, 28.10.17, post-visit interview 1a, para. 38.

  133. 133.

    Schaubühne, 27.10.17, post-visit interview 1, para. 13.

  134. 134.

    Neuköllner Oper, 27.10.17, post-visit interview 3, para. 33.

  135. 135.

    Ibid., paras. 34, 35.

  136. 136.

    Deutsche Oper, 26.10.17, post-visit interview 2, para. 34.

  137. 137.

    These results correlate with the statements of six students when they attended a symphony concert with student non-visitors (who had never visited a symphony orchestra before) as part of the seminar Audience Concepts in Transition at Zeppelin University, Friedrichshafen. The concert was held at the Carmen-Würth-Forum in Künzelsau and featured works by Felix Mendelssohn and Frédéric Chopin. Statements from the student non-visitors included: “It’s great that you can see the musicians playing”; “Yes, you can see how the music is made”; “I found it exciting to watch the people in the audience listening”; “The hall is actually like at the cinema, only more beautiful and here it’s live.” But also: “I thought it was great that everyone got something to drink for free during the break.” The first group of statements refers to the musicians and their performance, the audience and the live experience, and the second to being part of the community and celebrating the evening with fellow community members.

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Authors and Affiliations

  1. Zeppelin University, Friedrichshafen, Germany

    Nico Stockmann & Kübra Karatas

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

    Martin Tröndle

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  1. Nico Stockmann
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  2. Kübra Karatas
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  3. Martin Tröndle
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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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Stockmann, N., Karatas, K., Tröndle, M. (2022). Non-visitors in Conversation. 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_4

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