摘要
本文通过剖析1862时尚艺术中心开业后三年的运营情况,了解无补贴剧院如何定位和运营,是否能做到自负盈亏良性循环,抵抗市场风险,并通过剧院艺术品牌和影响的打造,为周边区域带来经济和品牌辐射效益。笔者希望通过该案例的研究分析和总结,为其他类似项目的设计规划、运营管理提供经验,促进剧院无补贴化运营的可持续发展。本文共分两部分,第一部分主要研究1862时尚艺术中心如何进行定位,建立艺术特色和商业模式,使其在没有补贴的情况下,开业第一年运营仅八个月收入即超2000万,利润破百万;第二部分主要研究1862时尚艺术中心开业第二年后,如何强化首年的精准定位,对内容进行市场营销推广,进一步融合艺术与商业,在没有补贴的情况下,第二年收入达到3000万,利润超500万,为周边的商业综合体带来了显著的经济和品牌辐射效应。后续,笔者将会继续观察1862时尚艺术中心的持续发展情况,对其在运营第三年受到疫情重大影响下的运营情况及后续发展进行考察和总结。
By studying and analysing the operation of the 1862 Theatre over the past three years after its opening-up,this paper aims to explore the positioning and operation of unsubsidised theatres,whether a virtuous cycle of self-sufficiency is achievable,how to resist market risk and leverage on the brand influence to bring economic and brand benefits to the surrounding area.The author hopes that the case study of 1862 Theatre will provide useful experience and reference for the design and planning,opera-tion and management of other similar projects,thus promoting a sustainable development of unsubsidised theatres.This paper consists of two parts,the first part examines how the 1862 Theatre sets its positioning,its artistic characteristics and business mod-el,which enables it to make more than 20 million yuan RMB in revenue and more than one million yuan in profit in its first eight months of running without subsidies.The second part studies how the 1862 Theatre,by strengthening its accurate positioning,leveraging on content marketing and advancing the integration of arts and business,has not only achieved 30 million yuan of rev-enue and a profit of over 5 million yuan in the second year with no subsidy,but also brought significant economic and brand bene-fits to the commercial complex around it.Following this paper,the author will continue to keep a close eye on the sustainable de-velopment of the 1862 Theatre in its third year of running,examining and summing up its operation and development in the wake of the coronavirus breakout.
出处
《艺术管理(中英文)》
2020年第4期114-123,共10页
Journal of Arts Management