aceUVi

Urrutiaguer finds that there are two groups of theatre-goers: one group that is
influenced by newspaper critiques, and the other that makes its judgments based
on the quality of the theatre’s programming as measured by the reputation of the
directors that are hired (195).
While Urrutiaguer’s study blurs the boundary between creative capacity and
popular demand (essentially claiming that demand is based on perceptions of
the anticipated quality of an organisation’s programming) it raises a number of
questions about organisations’ abilities to deliver high-quality cultural experiences:
• What role does an organisation’s reputation play in creating impacts and
value One the one hand, an organisation’s reputation is presumably based
on a history of past successes; on the other, it may also create anticipation
and excitement about an upcoming event which may serve to deepen the
audience’s engagement with the work (Brown and Novak-Leonard 2013, 7;
Walmsley 2013, 81)
• What role do networks among cultural organisations and artists play in
creating value Can networks be considered an indicator of creative capacity
• Since Urrutiaguer identified two groups within the theatre audiences he
examined that have different tastes and construct their quality judgments
differently, must one control for the possibility that cultural events are experienced
as high value and high impact by some audience members, while
leaving others cold, so that reporting mean scores in quantitative studies
obscures the true nature of the experience for different segments of the
audience
CREATIVE CAPACITY OF AN ORGANISATION 110
UNDERSTANDING the value and impacts of cultural experiences