Tourism flows and the demand for regional and city theatres in Austria

This paper investigates the impact of tourism flows on demand for large regional and city theatres in Austria over the period from 1972 to 2011 (39 years). The results are obtained by applying an aggregated theatre demand function for both residents and tourists. The elasticity of theatre attendance in response to tourism is estimated along with other standard demand variables such as ticket price and income. The quality factors and theatre-specific effects are also included. The tourism flows variables are derived using detailed data set on tourist arrivals and their overnight counts, and they are also split between domestic and foreign tourists. To measure the impact of tourism flows on theatre demand, three alternative theatre markets specifications are considered. The total elasticity of attendance per capita in response to tourism is estimated between 15 and 20 %, indicating that increasing the number of arrivals by two tourists per resident in the relevant market would generate an increase in theatre attendance by 581–680 thousand visitors per year. The role of tourism flows is found to be particularly important for attendance at opera, operetta and musicals as opposed to attendance at drama performances. The analysis also reveals that foreign, non-German tourists have a positive impact on theatre attendance, whereas domestic tourists do not contribute significantly to higher demand for Austrian theatres.     

Motivation,satisfaction and loyalty in the case of a film festival: differences between local and non-local participants

The last few years have seen a remarkable increase in the number of cultural events and festivals. The increasing competitiveness among them and the need to safeguard their future viability make it necessary to identify factors that not only attract and satisfy new participants, but also retain previous attendees. Accordingly, this article examines the relations between motivation, satisfaction and loyalty in the case of a cinema event the Valdivia International Film Festival (Chile), distinguishing, in turn, between local attendees and visitors. To achieve this goal, a structural equation modelling is performed based on the data obtained through a survey conducted among festival attendees. The results show there are different motivations for attending a festival (leisure, professional motives and cinema) and that some directly affect satisfaction and loyalty. Similarly, satisfaction is presented as an unquestionable antecedent of loyalty, the latter being measured by means of different concepts. Finally, the research highlights some significant differences between residents and tourists and seems to point to the existence of a kind of cultural tourism focused on an interest in the cinema, which contributes to the festival’s continuity and sustainability. All of this allows us to extract some implications for the managers of this type of event and for those responsible for the destination’s cultural and tourist policy.     

The Willingness-to-Pay for the Royal Theatre in Copenhagen as a Public Good

In this paper some of the results of a Contingent Valuation (CV)-Study of the Royal Theatre in Copenhagen, Denmark, are presented. The estimated aggregated willingness-to-pay (WTP) for the Royal Theatre through taxes shows that the Danish population wants to pay at least as much as the theatre receives in public subsidies. The visitors comprise only about 7 per cent of the total population, but the non-users' WTP is quite substantial which is the interesting point. It means that the non-users are willing to pay an option price and that the Royal Theatre has non-use value. This revised version was published online in August 2006 with corrections to the Cover Date.     

Language tourism destinations: a case study of motivations,perceived value and tourists’ expenditure

The economic potential of language tourism is manifested in the number of summer courses organised by some countries. Even if learning the language is the main motivation for travelling, the tourists also take into account other characteristics when choosing a destination, such as the location, the safety, the quality of the language or the cultural attractions. The objective of the current study is to analyse the profile of language tourists according to their motivations to study Spanish and their perception of the destination and to examine this profile as a driver of tourists’ expenditures. Specifically, this work analyses a sample of tourists who attended Spanish courses in language schools and academies in the city of Valladolid (Spain). The analysis of their expenditure during the stay reveals that expenditure is affected by visitors’ motivations and perceptions.     

Rational addiction and cultural goods: the case of the Italian theatregoer

This paper tests whether demand for theatre in Italy is consistent with the model of rational addiction presented in Becker and Murphy (J Polit Econ 96(4):675–700, 1988). Data from a novel 34-year panel on regional annual theatre attendance are used to estimate market demand. Four models are applied to investigate the demand function, and all of these also include per capita income and other control variables as regressors. The first two models are estimated to check whether theatregoers are myopically addicted to theatre. The results suggest that the theatre is an addictive good because past consumption (and prices) significantly raises the marginal utility of current consumption. The third model tests the rational addiction hypothesis, which assumes that future attendance also influences current attendance, whilst past and future prices influence current attendance only indirectly through their impact on past and future attendances. However, our most highly specified model, introducing past and future prices, demonstrates that Italian theatregoers are not myopic but fully rational as outlined in Becker and Murphy (1988). The results demonstrate that the rational addiction hypothesis is applicable not only to “harmful” addictions such as alcohol, cigarettes and drug consumption, but also to “beneficial” addictions, such as theatre attendance. This result has important policy implications because theatre is one of the most subsidised performing arts in Italy; if theatregoers are fully rational, policy makers can influence theatre attendance using alternative policy instruments (price and income), thereby reducing government expenditure on theatre subsidies.     

Cost Structure and Product Mix of Local Public Theatres

The purpose of this study is to analyse the cost structure of the Italian local public theatres in order to assess economies of scale and scope and the desirability of the reform of the subsidy system. A translog multiproduct cost function was estimated using panel data for a sample of 28 theatres over the period 1991–1993. The results indicate the existence of scale and scope economies for most output levels. In addition, the estimated marginal costs for the two outputs indicate that, ceteris paribus, an additional performance conducted inside or outside the theatre by the resident theatre group is generally more expensive than an additional performance conducted inside the theatre by external theatre groups. These results call for a reform of the public subsidy system which do not promote the proliferation, but the interchange and the diffusion of a limited number of high quality shows. This revised version was published online in August 2006 with corrections to the Cover Date.     

Determinants of Public Cultural Expenditures: An Exploratory Time Series Analysis for Austria

Austria calls itself a ``cultural nation' as the arts, the performing arts (theaters) and museums, in particular, play an important role in public debate. However, the question arises as to whether public cultural expenditures as an indication of the significance of cultural policy are really as important when compared to other policy fields as political parties and the government try to suggest. A time series of public cultural expenditures for the period from 1967 to 1998 is taken as a basis for testing econometrically whether public expenditures (measured primarily as the ratio to GDP) follow a growth path. Based on tests for the stationarity of the time series of cultural expenditures in Austria, there are empirical indications that cultural expenditures, gross domestic product (GDP) and the relative price index (GDP and government expenditures) are cointegrated. Further econometric estimations (error-correction models) show that cultural expenditures increase with growing GDP but are vulnerable to short term fluctuations. Additionally, ``Baumol's cost disease' adds to the long-term growth of cultural expenditures. In the past the growth path of cultural expenditures has been stable and independent of the ideology of ruling parties, the form of government and political business cycles.     

开茶时节品茶宴

开茶节的T型台搭到茶园里 “溪水清清溪水长,溪水两岸好呀么好风光。哥哥呀,你上畈下畈勤插秧,姐妹呀,东山西山采茶忙;插秧插得喜洋洋,采茶采得心花放……”     

Superstar Museums: An Economic Analysis

Superstar museums are characterized by (1) great prominence among tourists and world fame among the general population; (2) a large number of visitors; (3) a collection of generally known painters and individual paintings; (4) an exceptional architecture; and (5) a large role of commercialization, including a substantial impact on the local economy. The superstar phenomenon is caused by factors both on the demand and the supply side of the market. Superstar museums are forced to offer total experience to the visitors; they have to relate to events in history, technology, politics, films and TV, and they have to provide for everything from education, food, gifts, shopping to entertainment. The development of superstar status strongly affects museum policy. The strategic orientation emphasizes visitors' demands; the organization has to be decentralized into processes each devoted to particular segments of visitors, to special exhibitions or support activities. There are also major consequences for human resource management, in particular, relating to flexibility and staff composition of paid employees and volunteers.     

Lead–lag relationship between household cultural expenditures and business cycles

This paper empirically examines how household cultural expenditures correspond to business cycles in Japan. Since income level is among the most important determinants of cultural demand, and income fluctuates with business cycles, examining the relationship between cultural expenditures and business cycles is useful, particularly in discussing income elasticity of cultural demand. The data used are monthly household expenditures for movies, live performances, and cultural establishments in the Family Income and Expenditure Survey. Turning points for cultural expenditures and related indicators are determined by estimating the regime-switching model. The lead–lag relationship between these series and the reference dates of Japanese business cycles are analyzed. The result indicates that cultural expenditures fluctuate cyclically with unstable leads and lags corresponding to business cycles. In addition, cultural expenditures adhere to smaller specific cycles within officially designated expansions, which imply that income elasticity has not been constant during past business cycles.     

A latent class model of theatre demand

This paper investigates market segments for theatre demand using a latent class model. The model is applied using data from a stated preference survey implemented in a regional theatre in England. Results allow three classes of theatregoers to be identified. The largest and ‘main class’ comprises mainly affluent people who show a strong preference for main theatre venues, consider reviews of the productions, whether the author is known, and like all types of shows. The second is a ‘popular class’, exhibiting the smallest willingness to pay and manifesting a strong preference for comedies, paying little attention to venues and disliking more sophisticated shows. The third is an ‘intellectual class’ of theatre goers, who exhibit the maximum willingness to pay, and show a strong interest for drama and adaptation of productions, and more independent aesthetic judgement. The study shows the usefulness of latent class models in identifying market segments, a procedure that is relevant to policy makers and theatre managers in setting prices, identifying different kinds of consumers to increase people’s engagement with theatre, and undertaking social analysis of performing arts.     

他们的画像——杭州首届中国国际漫画节手札

在王尔德的小说《道连.格雷的画像》中,一个情节让人难忘——艺术家霍华德对他倾注了感情的漫画对象道连.格雷说：＂你已经成了我看不见的理想的可见的化身。＂在很多人眼里,漫画等于幽默、调侃、生活调剂品,而非正统意义上的艺术形态。     

Rain and museum attendance: Are daily data fine enough?

I investigate the intraday effects of rain on the demand for indoor leisure. To do so, I use sub-daily museum attendance and weather data to reveal a dynamic response to precipitation that would be obscured using day-level data. I find that the magnitudes and signs of the effects of rainfall vary significantly throughout the day. In some hours, the predicted increase in visitors is nearly three times larger than would be expected from estimates using daily measures. Many individuals appear to actively adjust their plans throughout the day in response to rain, while others’ attendance depends upon prior weather forecasts of rain. Further analysis reveals that visit duration also increases during rainy periods, and visitors are more likely to attend pay-to-enter special exhibits. International visitors make up a greater share of total visitors during periods of observed precipitation. More broadly, this paper establishes the viability and value of working with widely available sub-daily rainfall data to uncover these dynamics.     

A microeconometric study of theatre demand

We develop a model of theatre demand with learning by consuming, and test some of its implications on a large random sample of theatregoers and non-theatregoers. This seems to be the most comprehensive econometric study of demand for the theatre from individual data. We hypothesize that each time the consumer watches a play, he experiences a degree of pleasant or unpleasant surprise on the basis of which he will revise his future expectations of his own taste. The learning phase is likely to be unusually long for highly differentiated cultural goods. Our set of data contains unique information about the full price and the fixed cost of theatre, the objective quality of the outing, past experience of and taste for the theatre, and consumption of substitute leisure activities such as reading, television and cinema. Our methodology and data enable us to infer price elasticity on survey data from knowledge of theatregoing experience and taste. After controlling for many variables, we conclude that demand for the theatre is price-elastic, which contradicts previous estimates on aggregate time-series data. Moreover, we estimate demand conditional on past attendance after controlling for selectivity bias. Satisfaction reported by consumers after the last play is also estimated and interpreted as an ordinal conditional choice.     

More Means Worse: Asymmetric Information, Spatial Displacement and Sustainable Heritage Tourism

This paper analyses the market transformation in heritage tourism destinations when excessive tourism demand determines the emergence of a class of excursionists among visitors. Building on the approach of Keane (1997) and Shapiro (1983), some important dimensions of sustainable tourism development are highlighted. The lesser capacity of excursionists to learn the true quality of the tourist goods provides an opportunity for producers to cut back on quality. To serve high quality goods and keep up the reputation of the destination, producers need to gain a mark-up on price that might not be sustained in a competitive market. Hence the decline in ``high-paying' demand segments, increasingly substituted by visitors with lesser quality expectations, has significant consequences on the use and preservation of the heritage. The proposed formulation allows the identification of appropriate policy instruments to reverse this process.     

A count data travel cost model of theatre demand using aggregate theatre booking data

Theatres have a market bounded by the distance theatregoers are willing to travel to see shows and productions. This paper uses count data models (Poisson regression and negative binomial models) to investigate the determinants of attendance at a regional theatre in England. It uses booking data for 29 theatrical productions supplied by the theatre, and matches this, using postcodes, with census socio-economic information on household characteristics. Socio-economic and travel cost (distance) are used to explore theatregoers attendance, and also to estimate consumer surplus, and to assess whether consumer surplus on ticket sales exceeds the annual government subsidy to the theatre.     

GPR survey to study the restoration of a Roman monument

This paper describes the ground-penetrating radar (GPR) survey carried out on the Roman theatre of Sagunto (Valencia, Spain) following recent restoration work in 1991. The structure has been substantially altered a number of times: it was remodelled during the Roman and Moorish periods, partially destroyed during the Peninsular War (1808–1814) and the Carlist War (1833–1839), and extensively modified during the 1930s and 1950s. Major reconstruction work was carried out in 1991 to convert the building into a working theatre. The GPR survey was performed to detect the possible effects of the 1991 remodelling on the historical remains and to identify the point of contact between the present-day modifications and the Roman remains. We took several on-site measurements of the wave velocity in the different materials in known areas to determine as accurately as possible the depth of the contact point. The velocity was calculated by measuring the depth in these areas and the two-way travel time of the wave. The measurements were taken from the walls and the tiers as the thicknesses of the materials were known in these areas. The recorded values were compared with the velocities reported by other authors and with the information from diffraction hyperbolas recorded in the radar data, which are caused by small objects inserted in the medium. We used these velocities to determine the exact point of contact between the Roman remains and the materials used in later restorations. The contact points cause the reflections that can be seen in the GPR data. The results also reveal considerable variations in the surface of the Roman tiers, which can be attributed to partial erosion in these areas caused mainly by water.     

The rediscovery of Benevento Roman Theatre Acoustics

This study reports the acoustic history of the Benevento Roman theatre, from its origins in the Roman period to today. The theatre, built in the second century A.D., was abandoned following historical affairs – e.g. barbaric invasions – and natural events (earthquakes, floods, etc.). The building materials were used during the Langobardic Age for the construction of defensive walls and for the adornment of churches and buildings. During the following centuries some houses were built in the theatre. At the beginning of the 1900s, the dominating houses were demolished in order to bring to the light the buried parts of the theatre and to consolidate the structures. The recovery work ended only in 1950. The theatre is nowadays not only an ancient monument, but also the centre of important social activities with national and international festivals of music, dancing and drama. Using a software for architectural acoustic, and with a 3D theatre virtual model, we predicted the acoustic properties during the Imperial Age. With acoustic measurements carried out in situ, we evaluated the acoustic properties in the current state.     

The political economy of cultural spending: evidence from Italian cities

We investigate the relationship between Italian municipalities’ spending on culture in the 1990s and 2000s and a number of political variables—such as a left/right dummy, an election-year dummy and a term-limit indicator—controlling, among other things, for economic and socio-demographic characteristics of the population, the level of human capital and instruction, proxies of social capital, the extent of private financing of cultural provisions and touristic and artistic relevance. We use a panel-data regression analysis and find that, indeed, some determinants of public expenditures on culture are political. In particular, we identify an electoral cycle in which the incumbent spends less on culture in an election year. This result is robust for variations in the empirical model accounting for both the persistence and spatial interdependence of cultural expenditures by municipalities.     

Full-income and price elasticities of demand for German public theatre

This article provides estimates of price and income elasticities of demand for German public theatre, using a large and reliable data set for 178 theatres over 40 years (1965–2004). It is posited that the consumption of the performing arts is a time-intensive activity for which both a theatre ticket and leisure time are necessary. Thus, the impacts of ‘full-income’ (‘leisure time income’ added to disposable income) and the price of leisure time on theatre attendance are examined. The findings indicate that the demand for the performing arts is own-price inelastic. The disposable income elasticity is significant, positive and equals approximately one. In contrast, the full-income elasticity is well above one and greater than usual income elasticity indicating that the performing arts are a luxury good when leisure time income is included in the consumer’s budget. The positive full-income effect is, however, offset by the negative price of leisure effect indicating that leisure time is a complement for the performing arts. Additionally, three objective quality characteristics of theatrical productions which can positively influence theatre demand are examined.