Marketing principles: aims, market research, target markets

Marketing Principles for IGCSE Drama (0411)

Learning Objective

Students will be able to:

• Explain the aims of marketing a drama production and link each aim to a specific IGCSE learning outcome.
• Carry out desk‑ and field‑research that answers both marketing and drama‑specific questions.
• Identify and describe target markets, showing how the chosen drama elements (structure, characterisation, design, etc.) will appeal to each group.
• Produce a concise, syllabus‑aligned marketing plan that demonstrates knowledge (AO1), application (AO2) and planning/evaluation (AO3).

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1. Aims of Marketing in Drama (Link to AO1)

Marketing is not just ticket sales – each aim supports a particular drama learning outcome.

Aim	How it supports the IGCSE syllabus
Fill the house (maximise audience numbers)	Provides a realistic performance context for students to develop confidence and stage presence (Component 2 – Individual performance).
Showcase the dramatic work	Highlights structure, characterisation and thematic ideas, reinforcing AO1 knowledge of practical drama elements.
Build the reputation of the company/its artists	Encourages reflective practice – students evaluate how their performance skills and design choices are perceived.
Develop lasting relationships with schools, community groups and media	Creates opportunities for future scripted and devised projects, linking to AO3 planning and evaluation.
Provide feedback for improvement	Audience reactions give evidence for the written commentary in Component 2 (AO3).

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2. Market Research – Gathering Drama‑Specific Information (AO2)

2.1 Desk Research (Secondary Data)

• Demographics: age bands, school enrolment, cultural participation rates in the local catch‑area.
• Attendance data: ticket sales for similar productions (classical vs. contemporary, family matinees, school‑group discounts).
• Media analysis: recent reviews, press coverage and social‑media trends for the playwright, genre or theme.
• Curriculum links: which Key Stage(s) or GCSE topics the play supports (e.g., Shakespeare, modern social issues).

2.2 Field Research (Primary Data)

• Surveys: online questionnaire for students, parents and community members – ask about preferred genres, price tolerance and favourite communication channels.
• Focus groups: small groups of teachers, drama‑club leaders or youth workers discuss what would motivate them to attend.
• Interviews: one‑to‑one chats with local press, cultural organisations and potential sponsors.
• Observations: attend other local productions and note audience reactions to staging, costume and lighting.

Key Research Questions (Marketing + Drama)

1. Which audience groups are most likely to be attracted by the story, genre or themes of the chosen play?
2. What performance skills (e.g., physical comedy, vocal projection) will appeal to those groups?
3. Which design elements (costume, set, lighting, sound) should be highlighted in promotional material?
4. What price points and performance times suit each target market?
5. Which media channels do the target groups use to discover drama events?

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3. Identifying Target Markets – Linking to Drama Elements (AO2)

A target market is a clearly defined group of potential audience members. For each group we note the drama‑related characteristics that will attract them and the most effective promotional tactics.

Target Group	Key Drama‑Related Characteristics	Marketing Strategies (Drama focus)
School students (13‑18)	Curriculum links; interest in contemporary issues or classic literature; limited disposable income.	Workshops on characterisation and theme. Discounted group tickets + free programme notes linking scenes to syllabus. 15‑second TikTok teasers showing rehearsal clips of vocal & physical skills. Flyers to teachers; Instagram posts with design sketches.
Young adults (18‑30)	Interest in modern staging, experimental techniques, social outings.	Online video trailer highlighting dynamic blocking, lighting effects and soundtrack. Partnership with local theatre bloggers / Instagram influencers. Early‑bird pricing and email newsletters that explain the play’s structure and tension.
Families	Parents want affordable, age‑appropriate entertainment; children enjoy clear storytelling and visual spectacle.	Family ticket bundles and weekend matinee performances. Poster images that showcase colourful costume and set design. Local newspaper ads and community‑centre posters.
Local community groups	Desire for cultural participation, possible volunteers for backstage/ushering, interest in community relevance.	Open rehearsals with talk‑backs on character development and staging choices. Joint promotional events with community centres. Press releases emphasising use of local talent and design.

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4. Core Drama Elements to Highlight in Marketing (AO1)

4.1 Elements of Practical Drama

• Structure: exposition, rising action, climax, resolution.
• Characterisation: motivations, relationships, transformation.
• Dialogue: language style, sub‑text, pacing.
• Physicality: movement, gesture, proxemics.
• Pacing & Tension: timing of beats, use of silence.
• Spatial Awareness: blocking, use of stage zones, levels.

4.2 Performance Skills – Mapping to Component 2

Component 2 Piece	Key Skills Required	How to showcase in marketing
Individual performance (scripted)	Vocal projection, articulation, emotional tone; precise blocking.	Short video of the actor delivering a pivotal monologue with close‑up of facial expression.
Group scripted piece	Ensemble coordination, spatial relationships, use of levels.	Behind‑the‑scenes clip of the cast rehearsing a complex ensemble movement.
Group devised piece	Improvisation, collaborative character creation, innovative use of props/sound.	Time‑lapse video of the devising process, highlighting the stimulus and evolving design ideas.

4.3 Staging & Design – Quick‑Reference Checklist (AO1)

When answering a written question on a published extract, candidates should aim to comment on at least two design areas and explain how they support the genre or intention.

• Costume: period vs. contemporary dress; colour symbolism.
• Set: realism, abstraction, use of multi‑level platforms.
• Props: symbolic objects, functional items that reveal character.
• Lighting: mood lighting, shadows, colour gels to heighten tension.
• Sound: diegetic vs. non‑diegetic music, effects that underline emotion.

4.4 Working with Published Plays – 3‑Step Model (AO2)

1. Read & Annotate the Extract – identify dramatic intention, key moments of tension, and any notable design cues.
2. Sketch a Director’s Concept – decide on tone (e.g., gritty realism, stylised comedy), visual style (colour palette, costume era) and primary design elements.
3. Write a Short Commentary (≈200 words) – link the chosen dramatic elements and design choices to the genre and to the intended audience. Use appropriate terminology (blocking, sub‑text, ensemble, etc.).

4.5 Devising from a Stimulus – AO2 Checklist

For the group‑devised piece, the exam requires evidence of the following components:

• Type of stimulus used (image, news article, piece of music, etc.).
• Clear intention or theme derived from the stimulus.
• Development of characters and relationships.
• Structure of the devised piece (beginning, middle, end) and key moments of tension.
• Design decisions (costume, set, lighting, sound) that reinforce the intention.
• Reflection on the devising process – what worked, what was altered, why.

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5. Key Dramatic & Theatrical Terminology (AO1 Glossary)

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6. Simple Marketing Plan – Step‑by‑Step Framework (AO1‑AO3)

1. Set clear aims (e.g., fill 80 % of seats; showcase students’ character work). Align each aim with a specific learning outcome.
2. Conduct desk & field research (collect demographic data, audience preferences, and drama‑specific insights).
3. Analyse findings – create a simple data table and select one or two primary target markets (e.g., school groups and families).
4. Choose promotional tools that highlight drama elements:
   • Posters featuring costume sketches (design focus).
   • 15‑second video teasers showing blocking, vocal intensity and lighting effects (performance skills).
   • School outreach packs with curriculum links and a short director’s concept statement (working with published plays).
5. Develop a timetable & budget – allocate resources for printing, online ads, video production, and rehearsal‑recording equipment.
6. Monitor and evaluate – track ticket sales, collect audience feedback on specific drama aspects (e.g., “Did the lighting help you understand the climax?”), and adjust tactics for the next performance.

Suggested Flowchart (Insert as a diagram)

Research → Data Analysis → Target‑Market Selection → Drama‑Focused Promotional Tools → Timetable & Budget → Monitoring & Review

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7. Links to IGCSE Assessment Objectives

• AO1 – Knowledge & Understanding: terminology, elements of practical drama, performance skills and design concepts are embedded throughout the notes and the checklist.
• AO2 – Application: desk/field research, target‑market analysis, 3‑step model for published plays and devising checklist provide concrete ways for candidates to apply theory to a real‑world marketing scenario.
• AO3 – Planning & Evaluation: the step‑by‑step marketing plan, timetable/budget template and monitoring‑review stage directly address the planning and reflective requirements of Component 2.

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8. Quick Revision Checklist (Exam‑Style Prompts)

1. State at least three aims of marketing a drama production and explain how each supports a specific IGCSE learning outcome.
2. Distinguish between desk research and field research; give one drama‑related example of each.
3. Identify two characteristics of a target market and link each to a particular drama element (e.g., characterisation, lighting, physicality).
4. List three promotional tools that would effectively reach a school‑aged audience and describe the drama‑specific content they would showcase.
5. Define the following terms and give a brief example of how each could appear in a marketing piece: blocking, fourth wall, ensemble, sub‑text.
6. Using the 3‑step model, outline how you would prepare a 200‑word commentary on a published extract.
7. Complete the devising checklist for a stimulus‑based group piece, noting intention, character, structure and design decisions.