| dc.description.abstract | Live theatre has been part of society for many years, but a decline in ticket sales and an aging market are just a few of the many obstacles that have been forcing live theatre platforms such as performing art competitions, professional live theatres, arts festivals and community theatre to re-evaluate their current offerings and determine strategies of change. All the different live theatre platforms in South Africa have started to investigate a new market segment that is showing the potential to become the next biggest consumer cohort due to their size. Through their investigation, it has become clear that a younger market, between the ages of one- and younger than thirty years of age are the next consumer cohort that needs to be attracted if live theatre is to survive. The younger market, also known as Post millennials, Facebook generation, Digital Natives, Switchers, Dotcom children, Netgeneration and iGeneration is currently in a phase of their lives where entertainment experiences that they are exposed to, such as live theatre productions, contribute to their future purchasing decisions. However, with this said, live theatre producers are still struggling to adapt their offerings and attract this market due to limited knowledge about the aspects that contribute to live theatre ticket purchases and the complexity of this market. This market, compared to its predecessor, has shown unique expectations towards their entertainment choices and spending patterns and the production themes and marketing efforts that worked in the past no longer seem sufficient. The younger market’s purchasing decisions and exposure to different entertainment and leisure options are also influenced by different and unique aspects such as social media influencers that are not part of traditional influential aspects among the older theatre attendees. This study therefore aimed to critically assess the ticket purchase behaviour of younger theatre audiences. To be successful in this goal, the younger theatre audience had to be divided into smaller sub categories as research have shown that the characteristics, influences and expectations of different age groups within the younger market cohort cannot be overlooked and should be incorporated if the study is seeking reliable results. With the primary goal in mind, the younger market cohort was divided into three subcategories, children, teenagers and students and five (5) study objectives were determined to successfully conduct this study. The first objective (Objective 1) was to conduct an in-depth literature review where focus was placed on generational theory, purchase behaviour with specific focus on the aspects that influence live theatre ticket purchases. The second objective (Objective 2) was to investigate aspects that contribute to community children’s theatre ticket purchase. The third objective (Objective 3) was to analyse the theatre ticket purchase behaviour of teenagers in South Africa. The fourth objective (Objective 4) was to critically assess the aspects contributing to live theatre ticket purchases of students. Lastly, a critical assessment of the outcomes of the study was conducted to draw conclusions and make recommendations to the producers, managers, marketers and theatre platform providers of live theatre productions (Objective 5). | |
