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  1. 1. INDEX STREAMING THE REALITY............................................................................................................................................1 Our mission/Our objectives/Our future/The origin of STREALITY/Our legal status THE ENVIRONMENT .......................................................................................................................................................3 Partners/Geographical dynamics/Sectorial dynamics/Political and Economic dynamics/PEST and SWOT OUR AUDIENCE ..............................................................................................................................................................5 Target segmentation/Psychographic characteristics/Market Size Analysis/Positioning PRODUCTION..................................................................................................................................................................6 The content/Venues/Equipment and technology plan/Our website/ Production timetable HUMAN RESOURCES...................................................................................................................................................10 Structure/Teams/Job description COMMUNICATION AND MARKETING .........................................................................................................................14 Audience development/Marketing Mix/Tactical marketing/Graphic design/Communication plan FINANCIAL PLAN..........................................................................................................................................................17 Funding and sponsoring/Festivals/Financial data EVALUATION.................................................................................................................................................................20 Short term/Long term
  2. 2. STREALITY June 2013 1 STREAMING THE REALITY A new, unique and advanced platform for the future. OUR MISSION STREALITY serves as an international network to promote independent creativity and cultural richness by means of gastronomy experiences along with streaming and audience-engaged performances transcending languages. OUR OBJECTIVES General Objectives Foster cultural diversity, creativity and mobility by audience-engaged means. Under the overpowering globalization, many cultures are being transmitted through different media communicators. Thus, cultures can be sometimes transformed and misunderstood due to lack of authenticity. STREALITY aims to make this communication between performers and audience more direct and human by combining traditional theatre, live streaming theatre and gastronomy. Develop a unique experience for audiences by combining traditional theatre, live streaming theatre and gastronomy. With advanced technologies, the project explores the cultural-exchange possibilities through live streaming theatre to overcome barriers of mobility. While some theatre companies have worked with streaming, we go further by joining streaming with traditional theatre and gastronomy to form a more striking and impressive experience for the audience. Strategic Objectives Improve audience experience by introducing them to live streaming performance and food from other countries. With these two elements, we want to make theatre more appealing and charming to pursue good performance on audience attendance and box office sales. Connect Spain, Kazakhstan and Taiwan through a network that will have the potential to expand. Initially starting with founders’ own origins due to understanding of our local environment and the markets from these three countries. Barcelona, the place we three met which has strong theatrical traditions. Taipei, the place of creative thinking and the place in Asia where our team have most access to resources, as the starting points to increase international visibility. Using the streaming technology to increase artists’ mobility we will considerably reduce the cost of travelling while still achieving the goal of cultural exchange. This methodology meets the current trends for greener solutions worldwide. Specific Objectives Establish a formula for STREALITY theatre by first co-producing performances between Barcelona and Taipei. The audience in one location sees two performing groups, one local on stage and one from another country through streaming. The two groups will perform together. The performance includes samples of food from the country being streamed. For the first production, the audience will be in Barcelona watching local performers on-site and streaming performers live from Taipei. Later on (within one month) vice versa, the
  3. 3. STREALITY June 2013 2 audience in Taipei will be enjoying the performance featuring live streaming performers of Barcelona together with performers from Taipei on the spot. Create a network for international theatre artists interested in streaming theatre to meet and share idea. Create a website serving as the platform for the archive of streaming theatre, and the tool for promoting streaming theatre in the world. OUR FUTURE STREALITY is aiming to actively present productions within and between Europe and Asia in 2 years to promote artistic mobility and intercultural exchange. Build a worldwide network that will provide an opportunity to expand the project. The network starts among three countries of our origins. Potential partners are welcome to join the network; however professional backgrounds and project proposal should be submitted. The new member will be accepted on the premise of all members' consent. The production done by all members should contribute 10% of the net income for the network operations. In the near future, members will be precedential to benefit from STREALITY funding. THE ORIGIN OF STREALITY Three founding members from three very different cultural backgrounds: Basque Country, Taiwan, and Kazakhstan. We are passionate about cultural exchange and would like to contribute to its advancement. However, we have realized there is actually a lack of true intercultural performance exchange and co-creation due to physical distance and limited budget. Therefore, we aim to use advanced technology to fill the gap. OUR LEGAL STATUS STREALITY in Europe will be a non-profit association based in Barcelona. We have made this decision because the aim of our project is social and because it is the most affordable way to start an organization. In Taiwan, it will be a non-profit cultural organisation. In Kazakhstan it is private non-profit organization. Taiwanese religious ceremony Basque traditional danceKazakh National Dance
  4. 4. STREALITY June 2013 3 THE ENVIRONMENT PARTNERS1 Since our project is going take spread among different countries the point of having international partners and international governmental support is crucial. Below can be seen the list of the partners we would like to collaborate with (for more information check annex 1). They will give us from artistic collaboration (like Reteatro or Move Dance Theatre) to more networking possibilities (like OISTAT or IETM). Reteatro IETM HORSE dance theatre MoVE theatre A.N.A. GEOGRAPHICAL DYNAMICS IN BARCELONA AND TAIPEI2 The STREALITY project is to be launched in the city of Barcelona, due to its modernity, creativity, and cosmopolitanism. Barcelona hosts many activities promoting cultural exchange and respect for minorities; therefore it is a good place to start this project. Barcelona is in a strategic place, open to the Mediterranean and to Europe. It also has a strong theatrical tradition. Taiwan is situated in the geographic position easily linked to northeast Asia such as Japan and Korea as well as to Southeast Asia such as Thailand, Malaysia, and Indonesia. Taiwan is a strategic point of access to China as Taiwan shares the same language, cultural origins, and for nowadays there are many cultural exchange activities between Taiwan and China; however due to the political situation Taiwan has developed a more open cultural scene with better professional knowledge. Therefore Taiwan would be the ideal place to start the exchange experiences with Catalonia. Taipei, as the capital of Taiwan, has established cultural infrastructures including arts festival, fringe festival, and venues in various sizes with accessibility, increasing audience and stable public funding for performing groups and activities. It has to be taken into account that Europe and Asia are interested in promotion of cultural exchanges through diversity and mobility. Barcelona is an ideal city as it is listed as the sixth intercultural city among 29 others in the report of European Commission 2011. 1 Annex 1 2 Annex 2
  5. 5. STREALITY June 2013 4 SECTORIAL DYNAMICS3 STREALITY offers a new and diverse performance to both Taipei and Barcelona, both of which Taipei, have a developed performing art market. In Taipei for example, the Taipei Arts Festival and Fringe Festival demonstrates active interest in the performing arts with more than 400 performances with paid audience up to 30,000 people in just one month4 . The estimated value output of Taiwan performing arts per year is 800 million€5 . In both cities the project will create strong links with local contemporary arts partners/institutions, such as the Centre for Contemporary Culture of Barcelona (CCCB). Another collaborating institution will be the Global network of Performing Arts designers and Technicians (Oistat) who has signed 10-years collaboration with the Taiwanese Government. POLITICAL AND ECONOMIC DYNAMICS IN SPAIN AND TAIWAN Since the economic situation in Spain is not very advantageous in terms of public cultural funding6 , the financial objective of the project is initially set to be balanced by ticket sales, food and beverage sales (F&B) and other possible merchandising. Crowd-funding in Spain and in Taipei will be used to raise funds to cover start-up costs but will also be helpful to make the project visible and feasible and help us grow an audience of supporters. The Taipei City Government is always keen on increasing international visibility. International co-productions usually are eligible for more public funding. There are programmes for international cultural exchanges in the National Arts and Cultural Foundation and Taipei City Government. Also, with international cast, the audience in Taipei tends to have more incentives participating in the performances, which would positively increase the box-office income. PEST AND SWOT ANALYSIS CONCLUSIONS7 STREALITY in the macro scope clicks all the boxes: it promotes artists mobility via the use of advanced technology; it contributes cultural exchange especially connecting Asia where there is a growing economy; last but not least, it appeals to gastronomy that all human beings enjoy and level it up with theatre performance to a new horizon. The multi-nationality of the team and some experiences in performing arts are our strengths however strong partners and networks are crucial to carry out the project in the long term. 3 Annex 3 4 Annual report of Taipei Cultural Foundation 5 Research on Taiwanese Performing arts conducted by performing arts alliance Taiwan, 2010 6 Annex 4 7 Annexes 5 and 6 Taipei Arts Festival
  6. 6. STREALITY June 2013 5 OUR AUDIENCE TARGET SEGMENTATION Barcelona8 : Local residents aged 20 – 50, who usually go to see alternative theatre performances are interested in foreign gastronomy, including foreign students and foreign residents. Taipei: Local residents aged 18 – 40, who usually go to see alternative theatre performances and interested in foreign gastronomy. PSYCHOGRAPHIC CHARACTERISTICS IN BARCELONA9 AND TAIPEI The main audience for STREALITY consists of young art lovers, students and professionals including: foreign students and people working in gastronomy or interested in foreign gastronomy. MARKET SIZE ANALYSIS10 Having studied the statistics from ADETCA11 we concluded that our potential target audience in Barcelona is audience of theatres with less than 200 seats and “special” theatres bringing about 1,2 thousands of visitors. POSITIONING12 We position STREALITY as innovative network facilitating collaborations between artists based in different locations, making performances accessible for audiences geographically separated from performing group by using technology of live video streaming. 8 Annex 7 9 Annex 8 10 Annex 9 11 Asociación de Empresas de Teatro de Cataluña 12 Annex 10 Technology is the future, theatre is the intimate present. STREALITY is the click bringing the present into the future.
  7. 7. STREALITY June 2013 6 PRODUCTION THE CONTENT/FORMAT OF STREALITY13 The invigorating content of STREALITY performances is essentially a duet with two solo actors. The exciting part of this duet is one actor performing on site while the other is performing live through streaming from the other end of the world. In our first case it will be one in Barcelona and the other in Taipei. While there is adventurous craziness in the production, the practical sides have been rationally considered: the reason for two solo performances is to ease artistic development and improve one-on-one communication, which should be more direct and simple during the production than among a group of several artists. It is also financially and logistically easier, especially as we will be working across time zones. Scripts need to be more well developed and structured with performing techniques by professional directors and script writers later on to carry out the best result of performances. The content of our performance format is the same story being acted coinstantaneous. In our first productions of Barcelona and Taipei, the story is going to be the main character and his dead mother and both are famous cooks. The two actors in Barcelona and in Taipei will be playing both parts of the mother and the son hence there will be four roles while there are actually only two performers. The two story lines which cross each other are designed for the actor on-site actually being as the medium of interpreter to pass the language barrier. The actor in the streaming (with foreign language) will be talking but also singing parts of traditional or popular songs from his country representing each scene. This is again, for lower the language barrier because singing is more comprehendible for the audience to get the scent of the story in streaming screen. The two actors will be telling the story with the same plots and feelings while intertwining with four different characters. And here is for the audience to see that, even we are from different countries, we have the same issues, emotions and experiences because we are all human beings. The vital element of real experience of exotic food is as well included in the performance. The process of cooking will be integrated into the performance and the exciting food-for-real will be served after performance. While the streaming actor is cooking during the performance, the actor on-site would also fry some spices or other simple ingredients such as garlic and onion since the set is in the kitchen. The audience, then, would experience the process of cooking food not just for the eyes but also for the nose and ears. This process would psychologically trigger the audience getting enthusiastic about the feast afterwards to emphasize the feature of STREALITY: food for mouth and food for thought. PRODUCTION PROCESS14 The final product of our project is the live streaming performance. For developing it a theatre and a studio are needed in each location. The audience would attend the theatre and eat foreign food before, during or after the performance. Then, the performance would start in the stage. Meanwhile in the other location the other performance would be recorded (camera 1) and launched in streaming in the theatre. Here an example; it has to be taken into account that it would work later the other way around, with a theatre in Taipei and a studio in Barcelona to make possible a complete cultural exchange. 13 Annex 11 14 Annex 12
  8. 8. STREALITY June 2013 7 The first production, the product of STREALITY, will be taking place in Barcelona for 16 performances in 3 weeks in the same venue while in Taiwan with the same amount of performances but touring in three cities for market capacity concerns. The number of audience in total will be 1,300 in Barcelona and 2,100 in Taiwan. The managers from STREALITY will be responsible for working as production manager at local with the companies. VENUE IN BARCELONA: MUTUO CENTRO DE ARTE15 As a venue for our first production we have chosen Mutuo Centro de Arte because it is dedicated to give to the artists a platform to develop their projects; opened for partnership and exchanges; a multiuse space where screen, stage and audience can be set easily and it has a bar for F&B. More importantly it has a high speed internet connection and space for max. 250 people. Mutuo Centro de Arte doesn’t charge renting and only take a 50% cut from box office sales. VENUES IN TAIWAN: TAIPEI, TAINAN, AND KAOSHIUNG16 We have decided to prepare a tour through Taiwan to be balanced with the 16 performances that are going to take place in Barcelona . Wellspring Theatre, Taipei Wellspring Theatre will be the venue for Taipei. It's located in the heart of Taipei city, easy to access and just next to two big universities. The rental for one week is around 2,900~3,000€ while all technical, audience and cleaning facilities and service are all included. The space is adaptable for 300~500 audience with movable seats. One highlighted feature of Wellspring Theatre that fits STREALITY is that it's build above a famous traditional food market which perfectly corresponds to our project. Space of Theatre Mechanics, Kaoshiung Space of Theatre Mechanics is a black-box theatre space with capacity for 120 audiences. Seats are adaptable into various ways. The rental for one week is 750€ including all technical equipment, cleaning service, and front of house. Eating and drinking are allowed inside of the theatre if necessary. Wei Wu Ying Arts Centre 281 Space, Tainan Wei Wu Ying Arts Centre 281, as a public theatre space promoting performing arts in southern Taiwan, once the applicant is accepted, a production fee will be provided and the space is rental-free at present. The audience capacity is 150 people. The technical equipment, cleaning service and front of house (by volunteers) are also provided. EQUIPMENT AND TECHNOLOGY PLAN17 The technological equipment is essential in this project. In all of the performances that STREALITY is going to manage there should always be certain equipment and technology features to reach a good level of performance. 15 Annex 13 16 Annex 14 17 Annex 15
  9. 9. STREALITY June 2013 8 We have divided the technology plan into three main parts: the theatre, the studio and the streaming. In the case of the theatre we need a venue with high speed internet connection and permission for selling F&B. The studio can be a usual one; it does not need special features. For the streaming account we would hire UstreamPro. OUR WEBSITE During the first production has taken place, we will launch a website. This will be the main platform for the network of STREALITY. It will contain daily updated information about the activities of the network, its partners and members. Through the website professionals (STREALITY network members and partners) will be able to get in contact with each other and fans will be able to see information about upcoming events. Also the website will be open for feedback and any contact. Meanwhile we will use our Facebook page to communicate our activities. PRODUCTION TIMETABLE18 The first production of STREALITY will take place from July 2013 until August 2014. The whole production is divided into 3 phases: Pre-production (July 2013 – Dec. 2013): In this pre-production phase we will be looking for companies from Barcelona and from Taipei, which are suitable for working together. At the same time, we need to book the venue in advance, applying for funding and aggressively reaching sponsors. Production (Jan 2014 – Aug. 2014): Script should be fully developed by February 2014. Rehearsal and discussion will continue from January to June, this period of time lasts for 6 months for international cooperation complexity. However the rehearsal fee is calculated on the basis of each attendance instead of time-span. Artistic team such as music, set, props, costume, lighting, graphic design, and very important, the filming professional should be all recruited by Feb. to start the meetings between Barcelona and Taipei. Marketing plan will be launched three months before the premieres. (For tactical marketing plan in BCN and Taiwan, please refer to Annex 19 and 20) Post-Production (July 2014 - Sep 2014): Both productions should close the case within one month if possible. In the post-production we will do the evaluations (14 indicators, more details are provided in the chapter of Evaluation) and finalizing financial balance and reviews. A detailed production timetable from July 2013 to August 2014, as well as the theatre week timetable scheduled by hour with logistic plans, is in the Annex 16. 18 Annex 16
  10. 10. STREALITY June 2013 9 June 30th (Mon.) July 7th July 14th Company(actor) Tech Production Manager Taipei Studio 10:00 -14:00 rehearsal at studio on June 30th load in - set/props/lighting/sound projection set audience seat and tables arrangement (04:00-10:00 TPE time) 16:00 - 21:00 spacing lighting - focus sound check internet set-up set/porps check shooting equipment in camera set shooting testing July 1st (Tue.) July 8th July 15th Company(actor) Tech Production Manager Taipei Studio 10:00 -14:00 rehearsal lighting - set cues internet check (04:00-10:00 TPE time) rehearsal final check final check rehearsal internet&cameras check July 2nd (Wed) July 9th July 16th Company(actor) Tech Production Manager Taipei Studio 10:00 -14:00 rehearsal lighting - set cues venue cleaning check Internet check (04:00-10:00 TPE time) dress-up tech final check final check rehearsal internet&cameras check dress-up/tech final check July 16th (Wed) Company(actor) Tech Production Manager Taipei Studio 16:00 - 20:30 final rehearsal dress-up tech final check 18:00 F&B arrive 19:30 front of house standby final rehearsal dress-up 20:30-21:30 21:30 - 23:30 post-show talk standby food catering translations post-show talk July 3rd (Thu) July 10th July 11th Company(actor) Tech Production Manager Taipei Studio 10:00 -14:00 rehearsal tech final check final check (04:00-10:00 TPE time) 16:00 - 20:30 final rehearsal dress-up tech final check 18:00 F&B arrive 19:30 front of house standby final rehearsal dress-up 20:30-21:30 21:30 - 23:30 post-show talk standby food catering translations post-show talk July 4th (Fri) July 11th July 18th Company(actor) Tech Production Manager Taipei Studio 10:00 -14:00 venue cleaning check (04:00-10:00 TPE time) 16:00 - 20:30 final rehearsal dress-up tech final check 18:00 F&B arrive 19:30 front of house standby final rehearsal dress-up 20:30-21:30 21:30 - 23:30 post-show talk standby food catering translations post-show talk July 5th (Sat) July 12th Company(actor) Tech Production Manager Taipei Studio 10:00 -14:00 final rehearsal dress-up tech final check 12:00 F&B arrive 13:00 front of house standby final rehearsal dress-up 14:00-15:00 15:00-16:00 post-show talk standby food catering translations post-show talk 16:00 - 20:30 break dress-up break tech final check 18:00 F&B arrive 19:30 front of house standby break dress-up 20:30-21:30 21:30 - 23:30 post-show talk standby food catering translations post-show talk July 6th (Sun) July 13th July 20th Company(actor) Tech Production Manager Taipei Studio 15:00-19:00 final rehearsal dress-up tech final check 17:00 F&B arrive 18:00 front of house standby final rehearsal dress-up 19:00 -20:00 20:00-21:00 post-show talk standby food catering translations post-show talk 21:00 - 22:00 on July 20th - STRIKE / Load out Performance 1 / 6 / 12 F&B should be delivered along cutlery within Styrofoam boxes to keep it warm kept for problems shooting Performance 2 /7 / 13 Performance 4 / 9 / 15 Performance 5 / 10 / 16 Performance 3 / 8 / 14 Performance 11 Venue: Mutuo Centro de Arte - providing projector, screen, seats and tables. technical rehearsal with Taipei, tech problem shooting, notes 16:00 - 22:00 20:30 general rehearsal 16:00 - 21:00 Time: Barcelona Time GMT+02:00 (TPE add 6 hours) Operational plan theatre Barcelona (continues in annex 16)
  11. 11. STREALITY June 2013 10 HUMAN RESOURCES ORGANIZATIONAL STRUCTURE19 As a type of organizational structure we have chosen the matrix structure because it is project-driven and flexible. All the employees and management in STREALITY will work closely together and will communicate with each other frequently to solve issues. Decision-making will be made among all members to reach the best result for every party. But at the same time, all the team members have certain roles and responsibilities in the general management structure. Our team of founders will take on various tasks and therefore the project costs could be minimized. All projects should be organised and planned by individual STREALITY member, therefore STREALITY members are paid by their own-run projects with STREALITY serving as consultancy and international network. 10% of the project net income is expected to contribute to the operation of STREALITY network. In the near future, STREALITY shall receive funding from EU or Asia, members would benefit as well from travelling and meeting for various STREALITY projects. 19 Annex 17
  12. 12. STREALITY June 2013 11 ORGANIZATION OF THE TEAMS The permanent team All three founding members of the group come from very different cultures – Basque country, Taiwan and Kazakhstan. However we have in common that we are really interested in performing arts such as dance, theatre and music. Wen, from Taiwan, has 7-years working experiences in performing arts mostly related to dance productions including featured programme in Biennale de la Danse de Lyon, flagship production with Taiwan National Theatre, and site- specific dance performance collaborating with French sounds artists. Majored in International relationship for the BA and now getting her master degree in arts and cultural management, in the future Wen would like to devote herself to promoting Taiwanese cultures and to making cultural exchanges in all possible ways. Aigerim has a degree in international journalism and communications. She also was working as intern at 2 TV- channels in Almaty city. She has strong interest in audio visuals and wants to help artists from Kazakhstan to establish better connections with their colleagues from other countries. Beatriz Solís has studied Scenography at the RESAD and she is very interested in new forms of theatre. she has collaborated with medium sized theatre companies such as La Cantera and Reteatro. She has been living in three different places of Spain and in consequence she wants to promote the different types of cuisine that can be enjoyed all over Spain. Nowadays she is finishing her master’s degree in Cultural Management. Other partners We would work with associations/companies and free-lances. We have made that decision because it is easier to contract them for short periods of work. They will invoice for their work ensuring that in most part their bills can be paid post ticket sales. STREALITY is open for partners around the world to join in. STREALITY will always be free to apply as a partner; however, the applicant should provide projects and backgrounds that related to the mission of STREALITY. The decision of taking the applicant as a member would be made among existed members. JOB DESCRIPTION STREALITY manager (production and marketing) Profiles: STREALITY Manager should have experience in 2-3 theatre performances and cultural events at residency country or international projects. A candidate also should be committed to the idea and interests of STREALITY, be passionate about live performances, food and technology. Basic computer skills and familiarity with Marketing and ICT tools are welcomed. For communication with international partners fluency in at least one foreign language is essential. Also, a manager should be ready to work with different time zones again due to projects internationality Responsibilities: STREALITY manager forms the initial concept of the performance and its production. Coordinates the whole production and such aspects like budgeting, scheduling work and departments’ collaboration. Also in order to reduce costs from additional personnel salary, will perform duties of Marketing Manager, which includes public relations and audience development. Salary in Barcelona: 600 € per production; Salary in Taiwan: 600 € per production
  13. 13. STREALITY June 2013 12 Director of the theatre company/Artistic director Responsibilities: Develops, implements the artistic vision of the production. Hires, supervises artistic personnel and key technical personnel. Artistic Director acts as a spokesperson for public, social appearances, fundraising events and networking. Salary in Barcelona: 300 € per production; Salary in Taiwan: 400 € per production Script Writer Responsibilities: Screenwriters are responsible for researching the story, developing the narrative, writing the play, and delivering it, in the required format. The script needs to be written just once for each production in each location. For the first production, translation from Spanish to Chinese and the other way around will be done by us – STREALITY Managers. Salary in Barcelona: 250 € per production; Salary in Taiwan: 350 € per production Set/Props Designer Responsibilities: Designs physical surroundings in which the action will take place. Salary in Barcelona: 250 € per production. Also fulfils responsibilities of costumer designer; Salary in Taiwan: 250 € per production Costume Designer Responsibilities: Creates the look of each character by designing clothes and accessories the actors will wear in performance. Salary in Barcelona: Costume designer in Barcelona is the same person as set/props designer due to less expenses necessity on personnel; Salary in Taiwan: 250 € per production Lighting Designer Responsibilities: Makes the best use of the subtle and powerful medium of light, creating effects that can be changed at will to match the mood of the action. Salary in Barcelona: 100 € per production; Salary in Taiwan: 250 € per production Music Designer Responsibilities: Plans and provides the sound effects in the play. Salary in Barcelona: 350 € per production; Salary in Taiwan: 350 € per production Stage Manager Responsibilities: Provides practical and organizational support to the director, actors, designers, stage crew and technicians throughout the production process Salary in Barcelona: 70 € per performance/ 1120 € per production of 16 performances ;Salary in Taiwan: 70 € per performance/ 1120 € per production of 16 performances Cameraman Responsibilities: Sets up the shots with the Director. Shoots the performances. For the first productions in order to decrease personnel costs, we will hire last year students of camera operation or videography
  14. 14. STREALITY June 2013 13 Salary in Barcelona: 100 € per performance; Salary in Taiwan: 100 € per performance Technician Responsibilities: Operates, maintains and safeguards the technical assets of the production. Supervises the use of lightning, sound, communications equipment, video streaming, the use and maintenance of stage facilities. Some technicians will be recruited at local when touring Set up/strike total 9 shifts; run-show total 5 shifts Salary in Barcelona: 30€ per shift per person; Salary in Taiwan: 20€ per shift per person (standard shift payment) Graphic Designer Responsibilities: Creates design solutions in promotional materials Salary in Barcelona: 500 € per production; Salary in Taiwan: 500 € per production Website Designer Responsibilities: Creates STREALITY website and associate applications. Our website will be our “face” and main platform for communication with professionals and engagement of the audience. It must have function and flow that makes it easy for a visitor to use, and it must be appealing to visit, for this reason highly-qualified specialist should be hired. Salary: 900 € Website Administrator Responsibilities: Maintains the content of the website updated. It includes adding photos, videos, news, social media posts. Also the administrator coordinates the work of the STREALITY network, thus adding new partners and members of the network; receives correspondence from professionals, fans, and website visitors and if necessary forwards it to other departments. The moderation of forums and other open, visible platforms of the website is also a responsibility of the administrator. Salary: 100 € per month of running the website Interns, volunteers Responsibilities: General office work like phone calls, paper work, flash mobs, distributing promotion materials. Interns and Volunteers are not paid that is why they are motivated by getting experience, improving their CV, getting contacts in theatre sphere and attending performances for free. Salary: Not included. Expenses for training and supervision included in payment of manager and office rental.
  15. 15. STREALITY June 2013 14 COMMUNICATION AND MARKETING AUDIENCE DEVELOPMENT Audience development is a key part of our marketing, first of all, because of innovative character of our theatre, which causes the necessity to find its audience, to establish loyalty and attract new ones. Secondly, due to crisis (at least in Europe) people are likely to spend less and less money on entertainment and leisure, which forces us to search for creative solutions to keep audience’s interest in and appreciation of our productions. As an example here are some solutions we are going to use for our first production taking place in Barcelona and Taipei: Consolidating existed market - additional values and incentives for first target group, the theatregoers: STREALITY will look for product sponsors related to the theme of productions. The products from sponsors, which could be ranging from food coupons, cosmetics samplers or off-season stocks (food for skin), or technology products (flash disks, etc.), will be presented as a gift for the ticket. The limited amount of gifts will give the audience more incentives not just to buy the tickets, but to buy it as early as possible. Reaching new audience, collaboration with restaurants, catering service companies, and gastronomy related website (trip advisor) for the second target group: The combination of two different products that STREALITY offers (theatre+food) will help us to reach broader audience. For instance, people who have no big interest in theatre, but being keen on trying new or exotic food, still can be attracted to STREALITY. That is why we will look for collaboration and cross promotion with food service companies. Also STREALITY will be listed as a restaurant on the trip advisor and yellow page websites, which are very popular references about leisure activities both among locals and tourists in many cities. Costumer Communications: Artists talk sessions, EDMs, Facebook and twitter updates: During the production, through talk sessions and ICT tools, we continually share the process of several phases with the audience. This is to make the audience little by little understand the concept more as well as making the audience feeling involved with the progress of the project. This is essential for the more the audience feel engaged the more possible they would purchase tickets. Talk sessions will be taking place in schools and communities for the audience to understand the concept in a short period of time and to arouse their curiosity to see the performances in theatre. This is for actively outreaching various groups to promote possible group sales as well as establishing partnership with active local community, for instance Gràcia community in Barcelona and Shi-da in Taipei, would help with knowing the audience and their preferences better and would improve the promotion. Audience Database : The audience database should be built step by step by valid questionnaires. Customer Relationship Management – Post-show talk and questionnaires: After the performance, a post-show talk will take place for the audience to share their feelings and questions as well as questionnaires distributed on site. The feedbacks and opinions from the audience are used as indicator for project evaluation. E-cards with STREALITY updates for special events such as Christmas should be sent to audience in the database to maintain the relationships with our customers.
  16. 16. STREALITY June 2013 15 MARKETING MIX20 Product A unique live streaming theatre event for our audience to enjoy performance, dining and learning about other cultures. Price The price will vary depending on a place where audience is located. This is due to inequality in costs, competitors’ prices and general economic situation in different cities and countries. In case of our first production which will take place in Barcelona and Taipei pricing will be different as well. In Barcelona, since in crisis situation we do not count upon public funding we will have to be more profit-oriented to carry on production. For this reason we will be focusing more on providing restaurant service and charging for food. (Ticket price: 20€) In Taipei with the help of public funding we will not be concerned so much about self-sufficiency and will set the price by the combination of the cost-based and competition-based method.(Standard: 15€ / Concession 12€ / Groups: 10€) Place We will not have a fixed venue for our productions. Thus, we will have to negotiate it with our partners in each country. In case of the first production the venue for Barcelona is going to be Mutuo Art Centre and for Taipei it is Wellspring Theatre. Promotion The Promotion channels of STREALITY will be focused on the website of the company, newsletters, press releases, social media, (YouTube channel, Facebook, Twitter etc.), page ranking, creating a Wikipedia article about STREALITY, word of mouth etc. On the Website of STREALITY there will be a membership function that will help us to keep a client-based database. The theatre companies could get this membership for free after passing an evaluation. This way we will be able to send updates about coming events, conduct surveys, get complaints and recommendations in order to improve customer satisfaction. Also advertisements will be put in city attractions catalogue. For instance, in Barcelona case it will be and websites. STREALITY will offer discounts to guests bringing more friends and will organize lotteries where the prize is few free tickets for the next performance. Audience and professionals will be invited to STREALITY rehearsals. In addition to that, STREALITY will participate in showcases and professional fairs to get more known among professionals, to network and find partners for future performances. TACTICAL MARKETING BARCELONA21 Tactical Marketing in Barcelona is aiming to reach its target groups, stimulate their interest in STREALITY and maintain it in the future. First of all, there will be printed promotion materials distributed where the main selling feature 20 Annex 18 21 Annex 19
  17. 17. STREALITY June 2013 16 of first Catalan-Taiwanese coproduction of live streaming theatre and exotic Taiwanese tapas is highlighted. The leaflets will be distributed in the locations where the target audience usually is (Theatres, Casa Asia, CCCB, Gracia neighbourhood, Chinese language schools, Chinese or other oriental studies university campuses, Bubble Tea shop, Asian related places). Further we will contact media related to art and culture and will arrange interviews. Also we will get listed on Barcelona Trip Advisor website (as a restaurant) since this source is very popular to refer to about leisure activities in the city both among locals and tourists. Additional advertising will be placed in popular media sources about leisure activities in Barcelona - Le Cool, TimeOut Barcelona magazines issued in June. To get more visibility there will be artist talks organized in Theatre schools and communities in May. And in June performance short sample will take place in the locations of our target audience concentration, which will be shot on video and uploaded on YouTube as our trailer. Throughout the whole period events will be actively promoted in Social media, information will be updated at least every two days. Posting about technology use in our production we will try to attract attention of new potential target audience of "technology freaks". TACTICAL MARKETING TAIPEI22 The plan is to reach three target groups and to stimulate successful purchases. in the first phase, prints such as posters and leaflets highlighted with first live international streaming coproduction featuring gastronomy, are distributed in places where the targeted audience are for them to notice the coming performances. Second phase, the media for interviews we choose are all accessing to our targets both in performing arts and Lifestyle: such as PAR performing arts magazine and La Vie magazine, Roodo Online for Arts and for gastronomy; different perspectives would be implemented with different Medias. More, a very important motivation for audience buying the tickets is words of mouth, therefore, celebrities as famous critics, professionals and bloggers (arts and food) will be invited to rehearsals before premiere, their positive comments and recommendations will be used to boost sales. As for group sale, talk session by the director or actor in performing arts school and community will be organised as well to increase group sales. Advertisements are focused on for the banner and EDMs to reach over 100,000 database of performing arts audience. GRAPHIC DESIGN We have designed two logos for STREALITY. One of them it’s the general one, with the full name of the project. The other one is the smaller version, to use it as a profile photo in the social media and in the documents of STREALITY. SPONSORS/PARTNERS COMMUNICATION PLAN23 Properly organized communication is an essential part of STREALITY Network activities. In order to convey the right message to our funders, sponsors and partners we will use different channels, including direct mailing, phone calls and face to face meetings if needed. By means of these channels we will communicate our proposals, benefits from collaboration with us and our applications. All the communication should be implemented in right periods of time; it should be updated periodically as stakeholders’ needs change. 22 Annex 20 23 Annex 21
  18. 18. STREALITY June 2013 17 FINANCIAL PLAN FUNDING AND SPONSORING24 For reaching our objectives we are contacting possible public funders, festivals as well as private entities to create the umbrella of our financial plan. Private sponsors not only for funds but also for product sponsors. Cross marketing will be referred to obtain product sponsors such as food coupon or cosmetics (women who attend arts events as the same target). The products will be used for tickets sale and survey. Bubble tea BCN FESTIVALS25 We have found that the following festivals could fit with our project: GREC festival T.N.T Temporada Alta 24 Annex 22 25 Annex 23
  19. 19. STREALITY June 2013 18 FINANCIAL DATA26 GENERAL INCOME: Amount in € in NTDPercentage Notes Generalitat de Catalunya 2.000 € NT$79.000 5,4% Subvencions per al sector de les arts escèniques Ajuntament de barcelona 3.000 € NT$118.500 8,2% Public funding - Taiwan National Cultural and Arts Fundation 4.000 € NT$158.000 5,2% For Taipei premiere Public funding - Taipei cultural affiars 1.500 € NT$59.250 1,9% For Taipei premiere Public funding - National Cultural and Arts Fundation 1.300 € NT$51.350 1,7% Taiwan Tour in Tainan Public funding - Tainan cultural affairs 1.500 € NT$59.250 1,9% Taiwan Tour in Tainan Public funding - Wei wu ying Arts centre 2.500 € NT$98.750 3,2% Taiwan Tour in Kaoshiung ASEF Creative Networks (2013-2014) 1.000 € NT$39.500 1,3% Apllied by STREALITY spanish association Taiwan Cultural ministry creative industrial funding 1.000 € NT$39.500 1,3% Apllied by STREALITY Taiwan organisation Total public funding 17.800 € NT$703.100 23,1% Crowdfunding campain in Projeggt 3.000 € NT$118.500 3,9% Sponsorship in Barcelona 2.000 € NT$79.000 2,6% Sponsorship in Taiwan 2.000 € NT$79.000 Taishin Cultural and Arts Fundation Online donation for STREALITY network 2.500 € NT$98.750 Total Private funding 9.500 € NT$375.250 12,3% 80 seats, 16 performances total up 1280 seat Paid attantence estimated at 80% : 1024 seat Barcelona Merchandise: 5€ per hand programme 1.125 € NT$44.438 1,5% Sale for 225 copies Box Office_Taipei total 11.172 € NT$441.294 14,5% Standard: 15€ x 50% of paid attandence 6.300 € NT$248.850 8,2% Concession: 12€ x 40% of paid attandence (students, the elderly, members) 4.032 € NT$159.264 5,2% Group sale: 10€ x 10% of paid attandence (20 people per perchuse) 840 € NT$33.180 1,1% Box Office_Tainan_total 3.537 € NT$139.712 4,6% Standard: 12€ x 50% of paid attandence 2.016 € NT$79.632 2,6% Concession: 9€ x 40% of paid attandence (students, the elderly, members) 1.215 € NT$47.993 1,6% Group sale: 9€ x 10% of paid attandence (20 people per perchuse) 306 € NT$12.087 0,4% Box Office_Kaoshiung_total 4.770 € NT$188.415 6,2% Standard: 12€ x 50% of paid attandence 2.880 € NT$113.760 3,7% Concession: 9€ x 40% of paid attandence (students, the elderly, members) 1.512 € NT$59.724 2,0% Group sale: 9€ x 10% of paid attandence (20 people per perchuse) 378 € NT$14.931 0,5% Taiwan Merchandise: 5€ per hand programme 2.250 € NT$88.875 2,9% Sale for 450 copies productions income for STREALITY network 400 € NT$15.800 0,5% 10% of production Net Income productions in Spain and Taiwan both has net income around 2000€ advertisements on STREALITY website 800 € NT$31.600 1,0% 5€ per banner estimated 16 ads in the first year Total self funding 49.654 € NT$1.961.333 64,5% Total income 76.954 € NT$3.039.683 100,0% 120 seats, 4 performances total up 480 seat paid attantence estimated at 70% : 336 seat 150 seats, 4 performances total up 600 seat paid attantence estimated at 70% : 420 seat Public funding Self funding 300 seats, 4 performances total up 1,200 seat paid attantence estimated at 70% : 840 seat Private funding Barcelona Box office: 25€ x paid attandence 25.600 € NT$1.011.200 33,3% 26 Annex 24
  20. 20. STREALITY June 2013 19 EXPENSES: Amount Percentage Notes Performance fee: 100€ in BCN and 200€ in TW per performance 4.800 € NT$189.600 6,4% 16 performances on site in BCN and TW Performance fee: 100€ per performance both 3.200 € NT$126.400 4,3% 16 performance streaming Rehearsal fee: BCN: 40€ per rehearsal(6 hours), 15 times TW: 10€ per rehearsal(3 hours), 30 times 900 € NT$35.550 1,2% 30 times of rehearsal director (BCN 300€, TW 400€) 700 € NT$27.650 0,9% Script writer(BCN 250€, TW 350€) 600 € NT$23.700 0,8% Set/props/Costume designer (BCN&TW 250€) 500 € NT$19.750 0,7% Music designer (BCN 250€ &TW 350€) 600 € NT$23.700 0,8% Llighting designer (BCN 100€, TW 250€) 350 € NT$13.825 0,5% Producer/production manager(BCN&TW 300€) 600 € NT$23.700 0,8% One production Marketing (BCN&TW 300€) 600 € NT$23.700 0,8% 100€/per month for 3 months Stage manager 2.240 € NT$88.480 3,0% 70€/per performance BCN Technicians: 30€ per shift per person 1.050 € NT$41.475 1,4% Taiwan Technicians: 20€ per shift per person 3.600 € NT$142.200 4,8% Graphic designer (BCN&TW 500€) 1.000 € NT$39.500 1,3% (Poster), leaflet, EDM, hand programme Cameraman BCN&TW 100€ per streaming performance 3.200 € NT$126.400 4,3% For streaming, asistant included STREALITYwebsite designer 900 € NT$35.550 44,0% STREALITY website administrator 1.200 € NT$47.400 58,7% Accounting and Lawyer consultnacy 600 € NT$23.700 0,8% STREALITY yearly operation Total personnel expenses 26.640 € NT$1.052.280 35,6% BCN Venue Hire - Mutuo Centro de Arte (20% of the income) 5.120 € NT$202.240 6,8% technical equipment, cleaning service, front of house, load- in/out facilities, toilets, green rooms all included Taiwan Venue Hire - wellspring theatre set-up and rehearsal shifts: 10x150€ performance shifts: 4 x 350€ technical equipment, cleaning service, front 2.900 € NT$114.550 3,9% Rental for one week set-up and rehearsal rental price: 150€/4 hours performance rental price: 350€/4 hours Taiwan, Tainan - Space of theatre Mechanics 750 € NT$29.625 1,0% Internet hire (Ustream) 140 € NT$5.530 0,2% Camera/ digital av mixer hire (BCN&TW 600€) 1.200 € NT$47.400 1,6% 600€ for three weeks rent Transportation (BCN 200€, 1200€ for Taiwan tour) 1.400 € NT$55.300 1,9% For sets and props, touring personnel Accommedation / 15 nights (Taiwan tour) 1.125 € NT$44.438 1,5% 25€ one twin room per night*3 rooms Studio/office rental 1.740 € NT$68.730 2,3% BCN 100€ x 6 months Taiwan 190€ x 6 months STREALITY web-hosting - yearly 150 € STREALITY Subscriber database software 250 € anuually Total rentals and hire 14.775 € NT$583.613 19,7% Printed materials (BCN 600€, TW 860€) 1.460 € NT$57.670 1,9% Poster, leaflets, handprogrammes Telephone/fax/internet (BCN 180€, TW 600€, STREALITY 240€) 1.020 € NT$40.290 1,4% Ave. 100€ per month x 6 months Papers, stationaries and sudries (BCN 100€, TW 400€, STREALITY 100€) 600 € NT$23.700 0,8% Advertisment (BCN 600€, TW 500€) 1.100 € NT$43.450 1,5% Promotion events (BCN&TW 200€) 400 € NT$15.800 0,5% School and community activies Promotion wordings (TW) 100 € NT$3.950 0,1% Taxes_Barcelona 2.560 € NT$101.120 7,4% 10% of the total box office (based on food taxes) Crowdfunding percentage_Barcelona 150 € NT$5.925 0,2% Barcelona_Commision - ticketing system 5.340 € NT$210.930 7,1% Taiwan_Commision - ticketing system 1.948 € NT$76.942 2,6% 10% of the total box office STREALITY online donation commision 125 € NT$4.938 6,1% Insurance (BCN 200€, Taiwan 870€) 1.070 € NT$42.265 1,4% insurance for staff, venue and audience TW_Meal box during theatre week/ 2€ per box 672 € NT$26.544 0,9% Ave. 8 persons*2 meals per day*21 days Total Admin/Commu./marketing 16.545 € NT$653.524 22,1% 7.800 € NT$308.100 10,4% Diced meat rice and bubble tea: 6€ per person for 1300 personnels 3.600 € NT$142.200 4,8% Spanish Tapas: 2€ per person for 1,800 personnels Total expenses 69.360 € NT$2.739.716 82,2% Continuecy (8%) 5.549 € NT$219.177 7,4% FINAL EXPENSE 74.909 € NT$2.958.893 100,0% BALANCE 2.045 € NT$80.790 Administration, Communication and MKT Taiwan_Food and Beverage reduced price in exchange with food supplier advertisment on hand programme Rentals and Hire Barcelona_Food and Beverage Personnel expenses (10% tax included)
  21. 21. STREALITY June 2013 20 EVALUATION SHORT TERM Quantitative: The total number of performances: to successfully present 24~32 performances. The total number of paid audience: to obtain at least 2,500 paid audience. To achieve 5,000 likes in Facebook, 3,000 followers on twitter, and 5,000 viewers on YouTube trailer. To obtain at least 500 valid questionnaires in audience survey. To reach 60% in self-funding in our first production. To reach 5 funders and sponsors. To have 20 media exposures. Qualitative: Audience Survey Analysis27 : A designed questionnaire will be given after the performance. Audience evaluations of the performance are set as the extents from 1 to 5. A formulated analysis of audience survey will provide us the essential ground to examine the relationship between STREALITY and the audience. For every valid questionnaire we will provide a gift or discount related to our products. The basic background of the audience is required in the questionnaire for us to build up our audience database. Please refer to Annex 25 for the designed questionnaire. Interviews with the performing groups: we want to know the performing groups are feeling in relation to STREALITY. Asking them about their experience with us is a good way to update the webpage and offer them a better service. Comparison between the estimated budget and the real budget: after the first performance we will have a certain economic result that for sure would not fit completely with the estimated one. Then we will analyse that results and we will take into account our conclusions for the next performance. Comparison between the estimated and real box office: evaluating our forecasted income and the real one. We will calculate the percentage, analyse the weaknesses and make improvements for future productions. Media report: measuring how often our production was mentioned by media and whether most of the covers were positive. Critiques and negative comments will be taken into account to correct mistakes in the next production. Peer evaluation: It will be very useful to get feedback from our colleagues with their professional point of view. Also they may suggest improvements. Views in webpage, Facebook page and Twitter: first material that we can use for starting to make our statics. LONG TERM Statics: after several performances we will have material enough to make complete statics of the network and the performances. Financial statement: every year we wold prepare a financial statement to prove our transparency and to justify our expenses. Review over the network: auditing process every year to pinpoint our weaknesses and mistakes and try to solve them. 27 Annex 24