Monetary value attributed to the performance

One of the things I am exploring with When Night Falls is the act of placing a monetary value upon the experience: the piece is advertised in a way that no ticket prices are set, and the audience is instead asked to pay what they think the experience was worth.

We have now trialed this in two separate venues: Sprint festival (Camden People’s Theatre in London) and Yorkshire Dance (Leeds), and the results were:

  • At Sprint (London) the audience attributed to the performance a monetary value of £57.50 per night (average).
  • Yesterday at Yorkshire Dance (Leeds) the audience attributed to the performance a monetary value of £19.10 (one night).

It is too early to analyse these, and I look forward to our performances next week at Theatre in the Mill to begin to identify a particular trend, if indeed there is one.

But I wonder if, as I continue to tour this piece, I will see a distinct difference between geographical locations, or between different audiences (live art audiences versus dance and theatre audiences for instance).

I also wonder whether I will see a correlation between audiences that engage actively in the work and audiences that tend to adopt a more passive stance. In other words, because the experience is partially created by the audience member, I wonder whether audiences that are more confortable interacting will place a higher monetary value upon their shared experience with me, with those that are more passive (and therefore are merely considering for valuation what I do which in itself isn’t much) placing a lower monetary value.

Only future performances will tell…

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