The Study On The Core Competence Of Performing Art Groups

The origin of performing arts can largely be traced back to the very beginning of humancivilization. Since the earliest recorded performance on stage is religious congregationsin primitive society, the organization of these rituals can be regarded as a rudimentarysystem of art management.As one of the major recreational activities, stage performance used to play an importantrole in social life. However, social and technological development gives rise to newmedia which profoundly changes people's life style. Start from the 1980s, audienceattendance experienced a global decline and Chinese performing groups, as majorproduction line of the country's stage performances, also encountered a bottleneck periodwhich evolved into substantial living crisis as a result of both internal and externaltroubles. Here external troubles mainly refer to the changing circumstances while,internally, these groups' lack of competence also give fuel to the flames.Instead of hoping for reversing the irreversible, ever-fiercer competition among differentforms of recreational activities, or for government subsidies and financial support fromthe society—even though government and society to some extend should shoulder theresponsibility of promoting the development of all art forms—only by building around acore of shared competences can performing groups rejuvenate themselves and effect apermanent cure for the current crises.By applying Gary Hamel and C. K. Prahalad's "core competence model" to the field ofperforming-art-group management, the author aims at discussing how to enhance thesegroups' ability to continuously improve and effectively utilize their competences.Based on professional features and traditions of the performing art circles, this essaybrings corporate management theories and practices into analyzing severalstage-performance-group management cases. The author intend to look into the threeaspects identifying a core competence—external forms, internal core and intermediatesupport, and explore how this core competence model can be applied to construct thecompetence of stage-art groups, and the value and significance of such application.