The marketing mix: product, price, place, promotion

Marketing & Promotion – The Marketing Mix (IGCSE Drama 0411 2025‑2027)

The four “Ps” – Product, Price, Place, Promotion – provide a practical framework for planning a drama production from the initial stimulus to the final performance. Using the marketing mix helps learners:

• Identify and analyse the dramatic and design choices required by the syllabus (AO1).
• Devise a coherent piece from a stimulus and produce a marketing brief (AO2).
• Apply voice, movement, space and audience‑communication skills appropriate to the chosen venue (AO3).
• Understand how each decision influences ticket sales, audience reach and exam marks.

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1. Product – The Dramatic Product

In drama the “product” is the performance. It is built from a script or stimulus and realised through design and performance choices. Both published extracts and devised pieces must be examined against the syllabus’ practical‑drama concepts.

1.1 Elements of Practical Drama (AO1)

• Structure – beginning, climax, resolution; pacing and tension.
• Character – objectives, relationships, development.
• Dialogue – sub‑text, rhythm, language style.
• Physicality – gesture, mime, use of props.
• Spatial Awareness – blocking, proxemics, stage picture.
• Vocal Skills – projection, articulation, pitch, pace.
• Movement Skills – walk‑through, tempo, dynamics.

1.2 Design & Performance Areas (AO1‑AO3)

Area	What it adds to the product	Analysis focus (AO1)	Example (IGCSE‑relevant)
Script / Stimulus (AO2)	Core narrative, genre, theme, dramatic intention	Identify genre (tragedy, comedy, forum, etc.), theme, and how the stimulus shapes the plot.	Published extract from Romeo & Juliet (Shakespearean tragedy) or a news‑article stimulus on climate change.
Costume	Period, status, mood, symbolic colour	Explain how costume choices reinforce characterisation and theme.	Traditional commedia dell’arte masks for Arlecchino (highlighting stock‑character status).
Set & Props	Location, symbolism, functional support for action	Analyse how a minimalist set creates a universal space or specific symbolism.	Wooden platform suggesting a refugee camp; a single broken chair representing loss.
Lighting	Atmosphere, focus, time of day, emotional cue	Discuss colour, intensity and direction in relation to mood.	Cool blue wash for a night‑time scene in Macbeth (creates foreboding).
Sound & Music	Environment, rhythm, emotional heightening	Evaluate how sound design supports narrative and pacing.	Recorded street noises for a contemporary urban drama; low drone for tension.
Performance Skills (AO3)	Voice, movement, use of space, audience communication	Link each skill to a specific “Place” (venue) and to the intended audience response.	Projected speech for a 200‑seat auditorium; intimate whisper for a studio‑size black‑box.

1.3 Working with Published Extracts (AO1)

When the product is a published extract, students must demonstrate:

1. Knowledge of the playwright’s style, period conventions and genre.
2. Ability to analyse how language, structure and character choices create meaning.
3. Evaluation of possible design solutions that enhance the text’s themes.

1.4 Devising from a Stimulus (AO2)

The syllabus recognises a wide range of stimuli. Use the table below to guide planning.

Stimulus Type	Typical Dramatic Intention	Suggested Structure
Poem (e.g., William Blake)	Explore abstract ideas, emotions, or social critique.	Three‑scene arc: introduction → conflict → resolution.
Photograph (urban, historic, natural)	Develop a narrative that explains the moment captured.	Linear progression with a clear climax.
News article (social‑historical issue)	Raise awareness, provoke debate, or suggest solutions.	Forum‑theatre style with audience intervention.
Children’s story or folk tale	Re‑imagine for contemporary relevance or moral exploration.	Story‑telling frame with direct address.
Music video or song lyrics	Translate lyrical themes into physical drama.	Series of tableaux linked by movement motifs.

During devising, keep a marketing brief that records:

• Title, genre, theme, and dramatic intention.
• Unique Selling Points (USPs) – what makes the piece different.
• Key design choices and the reasons behind them.
• Target audience (age, interests, community).

1.5 Mini‑Activity – “Product Pitch” (AO1‑AO3)

1. In groups, select either a published extract or a stimulus.
2. Complete a 5‑minute analysis of the practical‑drama elements (AO1).
3. Draft a 150‑word marketing brief that includes design highlights and USPs (AO2).
4. Perform a 30‑second “elevator pitch” to the class, demonstrating appropriate vocal and movement choices for the chosen venue (AO3).

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2. Price – Setting Ticket Values

Pricing must balance cost recovery with audience willingness to pay. Understanding market segmentation is a key AO1 talking point.

2.1 Cost Base (AO1)

• Production costs – script rights (if applicable), design materials, rehearsals.
• Venue hire, technical hire, staff wages.
• Marketing expenses – printing, online ads.

2.2 Audience Segmentation (AO1)

• Students – lower disposable income, attracted by discounts.
• Families – value for money, prefer group rates.
• Community groups – may seek subsidised tickets.
• Adult enthusiasts – willing to pay premium for front‑row seats.

2.3 Pricing Strategies (AO1)

• Standard tier – covers average cost per seat.
• Early‑bird discount – 10 % off for purchases ≥4 weeks in advance.
• Concessions – students, seniors, disabled (typically 30‑40 % reduction).
• Group rates – 5‑plus tickets at a flat reduced price.
• Dynamic pricing – premium for front‑row, reduced for balcony or matinee.

2.4 Pricing Calculation Exercise (AO1)

Use the mock budget below to calculate a break‑even price, then propose three strategies (budget, standard, premium). Justify each with reference to audience reach and revenue potential.

Item	Cost (£)
Venue hire (3 evenings)	600
Set & props	250
Costumes	180
Lighting & sound	300
Marketing (posters, online ads)	120
Miscellaneous (insurance, refreshments)	150
Total Cost	1,600

Assume 200 seats per performance (600 total). Break‑even price = £1,600 ÷ 600 ≈ £2.70. Round up to the nearest whole pound for ticket pricing.

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3. Place – Where & How the Audience Accesses the Production

“Place” encompasses the physical venue, ticket‑selling channels, timing, and the way these factors shape performance skills.

3.1 Venue Selection (AO1)

• Size & capacity – intimate studio (≤50) vs. large auditorium (≥200).
• Location – school hall, community centre, commercial theatre.
• Accessibility – wheelchair access, public transport, parking.
• Technical facilities – lighting rig, sound system, backstage area.

3.2 Seating & Proxemics (AO3)

How close the audience sits to the performers influences:

• Voice projection – louder for large spaces, softer for in‑the‑round.
• Movement scale – broad gestures for distant audiences, subtle nuance for close‑up.
• Blocking – use of aisles, platform, or arena staging.

3.3 Ticketing Channels (AO1)

• Online box‑office (school website, Eventbrite).
• Physical box‑office or ticket window.
• Third‑party outlets (local arts centre, community shop).

3.4 Geographic Reach (AO1)

• Local performance only.
• Regional tour – e.g., three schools in the county.
• National festival entry – e.g., Edinburgh Fringe.

3.5 Timing (AO1)

• Day of week – weekend evenings for families, weekdays for school groups.
• Season – term‑time vs. holidays; consider competing events.

3.6 Performance‑Skills Drill – “Place‑Adaptation” (AO3)

1. Choose a 2‑minute scene.
2. Perform it three times, adapting:
   • Large auditorium – project, use full‑stage movement.
   • Small studio – intimate voice, subtle gestures.
   • Outdoor street – louder voice, exaggerated physicality, use of environmental sound.
3. Record reflections on how venue constraints altered your choices.

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4. Promotion – Communicating the Production

Promotion moves the audience from awareness to ticket purchase. It also provides an opportunity to practice exam command‑words such as describe, explain, evaluate, suggest.

4.1 Promotion Tools (AO1)

• Advertising – posters, flyers, local radio spots, paid social‑media ads.
• Public Relations (PR) – press releases, interview with director, backstage tours for journalists.
• Direct Marketing – email newsletters, SMS reminders, school newsletters.
• Sales Promotions – early‑bird discounts, group offers, “bring a friend” tickets, free program.
• Word‑of‑mouth – cast & crew sharing on personal accounts, hashtag campaign.
• Digital Content – 30‑second video trailer, Instagram Stories, TikTok challenge linked to the theme.

4.2 Sample 12‑Week Promotion Timeline (AO2)

Week	Activity	Purpose (exam‑relevant verb)
1‑2	Release teaser poster & announce title on school website	Generate initial buzz (awareness)
3‑4	Distribute flyers to libraries, cafés, community centres	Target local community (interest)
5‑6	Send press release to local newspaper; arrange radio interview	Build credibility (PR)
7‑8	Open online ticket sales with early‑bird discount	Encourage ticket purchase (action)
9‑10	Post behind‑the‑scenes video on Instagram & TikTok	Maintain engagement (interest)
11‑12	Send reminder emails & final “last‑minute” discount offer	Convert hesitant audience (action)

4.3 Command‑Word Practice (AO1)

Use the following prompts to rehearse exam answers:

• Describe how the poster design reflects the production’s theme.
• Explain why an early‑bird discount is suitable for a student‑focused audience.
• Evaluate the effectiveness of a TikTok challenge in attracting a teenage demographic.
• Suggest two alternative promotional channels for a regional tour.

4.4 Classroom Task – Mini‑Campaign (AO1 & AO2)

1. Using the marketing brief from the “Product” activity, each group creates:
   • A poster (A3 size) with tagline, visual, and essential details.
   • A 30‑second video trailer script (including voice‑over and visual cues).
   • A social‑media post (Instagram carousel or TikTok caption) with a hashtag.
2. Write a 120‑word justification linking each element to the identified target audience and USPs.

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5. Summary Table – The 4 Ps in Drama (Quick Reference)

Ps	Key Considerations (IGCSE)	Concrete Example
Product	Genre, theme, stimulus, design (costume, set, lighting, sound), performance skills, practical‑drama analysis.	Devised piece on climate change; minimalist set, projected storm soundscape, actors use slow, heavy movement to convey urgency.
Price	Cost recovery, audience segmentation, concessions, dynamic pricing, break‑even calculation.	£8 adult, £5 student, £3 senior; 20 % early‑bird discount for tickets bought 3 weeks ahead.
Place	Venue size & location, accessibility, technical facilities, seating & proxemics, ticketing channels, timing.	School auditorium (200 seats), tickets sold via school website & box‑office, weekend evenings, front‑row premium pricing.
Promotion	Posters, flyers, local radio, press release, email, social‑media teaser, hashtag, word‑of‑mouth.	Instagram carousel of costume sketches, local radio interview with director, QR‑code flyer linking to ticket site.

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6. Linking the Marketing Mix to the IGCSE Assessment Components

• Component 1 – Written (pre‑release extracts):
  • Use the “Product” analysis to describe genre, theme and design choices (AO1).
  • Apply the “Price” and “Place” sections to explain how a production could be marketed to a target audience (AO1).
  • In a short essay, evaluate the effectiveness of a proposed promotional plan (AO1).
• Component 2 – Coursework (performance recording):
  • Document the marketing brief, design decisions and rehearsals – evidence of AO2 (devising) and AO3 (performance).
  • Include a reflective log linking venue choice (“Place”) to vocal and movement adaptations (AO3).
  • Submit a promotional poster or video as part of the coursework portfolio (AO2).

When answering exam questions, reference the relevant “P” to justify why a particular design or performance decision will attract the intended audience, thereby demonstrating a holistic understanding of drama production.

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7. Suggested Classroom Activities (All AOs)

1. Marketing Plan Project – Groups design a full marketing mix for a chosen play (published or devised). Produce a written brief, a poster, a pricing table and a 12‑week timeline. Present to the class (AO1‑AO3).
2. Case‑Study Comparison – Analyse the marketing mix of two recent West End or school productions. Identify strengths, weaknesses and suggest improvements using command‑words (AO1).
3. Role‑Play Pitch – Students act as a production team presenting their marketing plan to a “funding board”. Board members ask budget, audience‑reach and design questions (AO1‑AO3).
4. Design & Promotion Workshop – Create a mock poster and a 15‑second social‑media video. Include a 80‑word justification linking design choices to the target audience (AO2).
5. Performance‑Space Drill – Re‑stage a short scene in three different “places” (studio, auditorium, outdoor). Record a brief reflective log on how voice, movement and blocking changed (AO3).

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8. Glossary of Key Drama Terms (Syllabus Vocabulary)

• Blocking – Planned movement and positioning of actors on stage.
• Proxemics – Study of space and distance between performers and audience.
• Four‑th Wall – Imaginary wall at the front of the stage; breaking it acknowledges the audience.
• Stimulus – Starting point (title, image, poem, news item) used for devising original drama.
• Devising – Creating a performance collaboratively, often from a stimulus.
• USPs (Unique Selling Points) – Features that make a production distinct from others.
• Dynamic Pricing – Adjusting ticket prices according to demand, seat location or booking time.
• Genre – Category of drama (tragedy, comedy, farce, forum, children’s drama, etc.).
• Dramatic Intention – The core idea or message the creator wishes to communicate.
• Rehearsal Process – Stages of preparation: read‑through, blocking, run‑through, technical rehearsal, dress rehearsal.
• Audience Communication – Techniques used to engage, involve or address the audience directly.
• Break‑even Point – The ticket price at which total revenue equals total cost.

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9. Diagram Suggestion for Teachers

These notes give a complete, syllabus‑aligned overview of the marketing mix for IGCSE Drama 0411, linking every element to the assessment objectives, exam command‑words and the two exam components.