The Analysis On The Audience As The Creative Dancing Entering The Market

Dance has the dual attributes of economy and culture. On one side, it is a cultural activity which the main means of performance is human body movement. On the other side, it’s an economic activity. For dance works, to realize the economic value is the means and to realize the cultural value is the purpose. By realizing the economic value of dance works can we take more material resources into the development of their cultural value. Looking from the current international and domestic environment, it’s still insufficient for dance works to realize their cultural value by means of economic levers. At present or in the future, there are/will be some works which may only pursuit the maximum economic benefits but neglect the cultural value. It’s inevitable, but we can’t simply oppose dance works entering the market for that and ignore dance works to realize their economic value. What we should do is to strive to the dual realization of economic value and cultural value on the basis of improving the regulation mechanisms of dance market and the evaluation system of dance works.Under the background of economic globalization and troupes enterprization, this paper mainly explores the dance creations which enter the market. The market here is limited to the consumer market of dance performing market, referring to the behavior that audience who has the demand to watch dance works pay some valuable things (usually money in modern society) to the performance agency in exchange for the chance to watch. The government market which the state government departments involve into aspects of financing, creation, exchange, etc. is not included here.There are five chapters in this paper. Starting from the way how audience interpret dance works, it confirms that the participation of people is the fundamental way to realize the significance of dance works, and based on this it elaborates the means how to create dance works for audience.Chapter one combs the market background which the dance creations are in from two angles, the policy and the current situation.Chapter two confirms that audience is the main part and dance works are created for audience through the definition, classification and distinction towards dance market. But how to create? By taking the semiotics theory and starting from the way how audience interprets dance works, the following chapter further confirms that it’s the audience that makes the significance of dance works come true.Dance movement can be divided into three levels:form of expression, object and interpretant. Form of expression is the external material form of dance works, which includes the visible body movements, stage art, costumes, props, lighting and audible music. The main focus of this paper falls on the aspect of dance body movement. Object is that dance creators hope to convey to the audience things like people, thing, matter, feeling, ethics and so on through the external material form of dance works. It’s also the grounds for the creator to produce dance works. Interpretant is that audience arouse image, emotion and understandings in the mind through the external form of dance works. The interpretation of audience is a kind of understanding that is formed from the collision of past life experience and knowledge accumulation. As there are differences in life experience and knowledge accumulation between people, thus there is a certain degree of difference for audience to interpret dance works. And what can run parallel with the above is that audience who shares similar past experience and knowledge accumulation will also share similar interpretations towards dance works.There is a convergence between them. Audience is not a whole with one voice, on the contrary they can be divided into a variety of types.Based on the previous three chapters, chapter four classifies audience into different types. They are power-oriented audience, authoritative audience and general audience. By illustrating the way how these different types of audience work on dance creators separately, the conclusion comes out that general audience who is numerous in quantity and various in type is the main audience in dance market.By confirming the main audience types in dance market and getting to know their constituent features, the last chapter discusses how to create for the general audience. And the method proposed here is to position the dance works clearly.The positioning of dance works is to make sure what impression has left to the target audience by selecting a certain group of people from the general audience as the target audience and investigating the impression of audience cognition left by the competitors’ works, combined with the creator’s own artistic pursuit and in accordance with the principle of difference. Besides it also makes sure how much market share it can take through such impression. The key is the impression that is formed after target audience’s interpretation towards dance works.The steps to position dance works is to subdivide the audience, identify the target audience and position in differentiation, which can be carried out from several angles such as quality, price, function, relevance, etc. The aim of positioning dance works is to become a front runner in market segment constituted by a certain audience group, once owning a market segment, it will have some influence and meanwhile obtain the improvement in operating performance and the box office profits which it needs to live by and develop.As the positioning of dance works is not blindly cater to the audience, it’s on the basis that dance creators who pursue their artistic pursuit look for audience who is congenial to their tastes, which in turn provides a sign for audience to search for their favorite works. It’s the link between creators and audience, and it’s also the way to achieve the double value of culture and economy for dance works.