Somber Silence The New Standing Ovation?

by:

Joe Patti

I saw an article on the NBC News site questioning the value of standing ovations with a subtitle suggesting the seeming default occurrence of the act was a symptom of “‘everyone gets a trophy’ culture.” I almost passed it by because it didn’t sound like it was going to say anything new on the subject.

I am glad I didn’t because along with observations about standing ovations being meaningless if you do them all the time and suggesting that audiences can be manipulated into giving standing ovations, the writer Maggie Mulqueen, says they can also represent demands audiences expect to be met:

At a classical music concert I attended recently, the soloist left his violin backstage during his bows as a clear sign that there would be no encore despite the demands of the audience. As we headed out of the theater, I overheard grumblings of disappointment that he had not acquiesced to the call for more. We don’t expect every sporting event to go into overtime in return for giving the teams a standing ovation, so I am not sure where this sense of entitlement comes from for the performing arts.

Later, she provides an anecdote illustrating how lack of applause can be a greater testament of the power of a performance than a standing ovation—while admitting concerns that the performers might read it the wrong way.

The play ended suddenly, the stage went dark, and the audience, stunned by the power of the play, was silent for several seconds. Then, as the weight of the experience sank in, hands began to clap, tears were dried, and actors took their bows. The audience filed out quietly as we tried to regain our bearings.

Ironically, the absence of a standing ovation that night added to how memorable an event it was. Because the content of the play is sober and dark, such a gesture would have felt like a celebration and been in poor taste. As I made my way back to my hotel, I wanted to tell everyone I saw on the Tube to go see it. But mostly, I wanted to reassure the actors. “You were great,” I wanted to tell them. “Please understand it was your forceful performance that kept us in our seats.”

Adding A Throwaway Option Can Solidify Decisions

by:

Joe Patti

Many arts organizations are seeing a drop in ticket sales and subscriptions this year which got me to thinking about a TED talk Dan Ariely did about how unwanted options helped helped people make a decisions, in some case spending more than the cheapest option.  I had done a post about it some years ago and thought about how it might be applicable to subscriptions.

Offer people options that don’t have value to nudge them toward purchasing more a bigger subscription package than they might have. I don’t know that it would transform a lot of single ticket buyers into subscription buyers unless we are wrong about flexibility being more important than price. A mini-subscription that offered flexibility and appeared to be a great value might have some success in getting single ticket purchasers to commit.

I also wonder if offering non-premium options with your show helps make them look more attractive than your competitors’. Ariely talks about another experiment where they offered people the option of an all-inclusive trip to Rome or Paris. In this case it is really apples and oranges since the two cities are in different countries have have so many different attributes to value. Once they add the option of going to Rome but having to pay for coffee in the morning, suddenly people preferred [all-inclusive] Rome over Paris by a larger degree due to the lesser option being available.

It doesn’t seem logical to me to think that given the option between the symphony and a free cocktail at intermission and the opera and a free cocktail at intermission, that people would flock to the orchestra if a no cocktail option for the same price was offered. But as Ariely points, out the decision being made are not entirely rational.

Do Factors Underlying Desire To Work From Home Herald An Increase In Creativity?

by:

Joe Patti

Back in 2009 I wrote about a TED talk Dan Pink did on motivation. In particular, he discussed how monetary rewards was successful at motivating people in mechanical tasks, but when it came to problem solving and creative solutions, in many cases the greater the reward, the longer it took people to solve a problem.

At the time I wrote:

This may explain why arts people are able to create in the absence of monetary reward.

I wouldn’t let this get around lest people insist that paying you more may rob you of your creativity.

[…]
Pink says the new operating model should be based on:

“Autonomy- Urge to Direct Our Own Lives
Mastery- Desire to get better and better at something that matters, and
Purpose- The Yearning to do what we do in the service of something larger than ourselves.”

It seems like these concepts are beginning to increasingly manifest themselves as people start to consider work from home as an option and seek to embrace greater degrees of autonomy, mastery and purpose in their lives.

Quit Your Job, But Don’t Quit The Arts

by:

Joe Patti

Perusing my archives, I came across a post about something Adam Thurman of The Mission Paradox blog wrote regarding the poor work environment in the arts. While people, including myself, were talking about this issue long before Adam wrote his piece, it is kinda depressing to think that it really took the upheaval of a pandemic for the arts and culture industry to listen and respond seriously to the insistence that things must change.

The link to Thurman’s blog is no longer active, but it was mirrored on the Americans for the Arts site .

At the time I wrote it, I only quoted his third point:

3. Don’t let them use your passion against you. Consider this:

Imagine you were a lawyer. What if I told you that there were some law firms (not all, but absolutely some) that didn’t get a damn about their employees? What if I told you that some firms were designed to bring in people and get as much out of them as possible before they burned out?

Would you believe me?

Of course you would. Hell, because it’s the legal profession you would expect such behavior.

Here’s da rub:

Some arts organizations are the exact same way. Just because the end product is art and not a legal brief doesn’t mean the place automatically values their employees. Just because the place is a non-profit doesn’t automatically make it a nice place to work.

But I also wanted to excerpt from a couple other of his points:

1. It doesn’t have to be like that. I know you’ve probably convinced yourself that all the garbage you deal with is just the cost of being in the field.

It isn’t. If the group you work for is being run poorly it is because people are ACTIVELY making choices that allow that to happen. It isn’t just a matter of circumstance. It’s an outcome of choice…

2. You are not the savior.

You’re smart. You see the problems in the organization. You care. You want to play a part in fixing them.

Good.

But not everything wants to be fixed. Some organizations have been run so poorly, for so long that they really can’t fathom another way. Don’t make it your responsibility to save them for the path they have chosen….

Perhaps most importantly since people are seriously considering getting out of arts and culture altogether, and it is wise to make that a subject of serious thought:

5. But don’t quit the arts. Quit your job, that’s fine. Just don’t do it without a plan (use that Year in Step 4 to develop it)

If you can’t find a job as an arts administrator in a great organization . . . maybe you get out the field for a while. That’s ok. You can come back.

But the arts need you. They need your skill, your experience, your energy. So maybe you join a Board of an organization, maybe you volunteer. Maybe you start your own organization.

[…]

This thing you love, the arts . . . it is your world too. It’s your world just as much as it belongs to any poet, any dancer, any actor.

It’s vital you remember that because along your path you will be confronted by those who alternate between seeing you as completely irrelevant to the artistic process on one hand and the great oppressor of artistic ambitions on the other.

That’s garbage.

You belong. Find your place. Use your skills. Help get great art into the world. It can’t happen without you.