Does innovativeness convert into higher attendance of unconventional operas or ballets? The studies on participation of art address to openness (Ollivier, 2008) and cultural eclecticism (Bellevance, 2008), innovation diffusion process (Huntington, 2007, Andreasen, 1991)

1. The Case of Conservatives:
Innovativeness and Attendance of
Unconventional Opera and Ballet
Iuliia Papushina, School of Management,
National Research University Higher School of Economics Perm,
yupapushina@hse.ru
Alexei Neznanov, Faculty of Computer Science,
National Research University Higher School of Economics Moscow,
aneznanov@hse.ru
Olga Maksimenkova, Faculty of Computer Science,
National Research University Higher School of Economics Moscow,
omaksimenkova@hse.ru

2. Research Question
• Does innovativeness convert into higher
attendance of unconventional operas or ballets?
• The studies on participation of art address to
openness (Ollivier, 2008) and cultural eclecticism
(Bellevance, 2008), innovation diffusion process
(Huntington, 2007, Andreasen, 1991)
• Omnivore/univore argument
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3. Data and data analysis tool
• The data comes from the on-line survey of 867
Perm Opera and Ballet Theatre’s news subscribers
conducted in March 2015.
• Formal Concept Analysis Research Toolbox (FCART
by A. Neznanov, http://cs.hse.ru/ai/issa/proj_fcart)
is a software system for information retrieval and
knowledge discovery from various data sources
based on Formal Concept Analysis (FCA) approach
(Ganter & Wille, 1999).
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4. Why is Formal Concept Analysis?
• Data: big features space (more than 20 nominal and
ordinal attributes);
• Structure: FCA displays subtle structure and stays close to
raw data, it reveals deep understanding to ordering
patterns and patterns of linkages between categories and
behaviour, it helps to specify hypophyses and choose
appropriate statistical tests;
• Patterns of combination: analysis of group structure
through the patterning of concepts’ overlap, pattern of
combinations “what things go with what” and
associations;
• Presentation: FCA generates coherent and easy to
understand representations of data as a line diagram of a
concept lattice.
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5. Terminology
• A lattice is a partial order equipped with two
algebraic operations: join (upper neighbor) and
meet (lower neighbor), which bear its semantical
interpretations (Duquenne, 1999)
• The upper neighbor is the concept that is more
general than the given concept and directly above
(Belohlavek, Trnecka, 2012)
• The lower neighbor is the concept that is more
specific than the given concept and directly below
(Belohlavek, Trnecka, 2012)
• Sublattice - a subset which is closed under both
suprema and infima (Ganter, Wille, 1999)
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6. Initial Multi-valued Formal Context
Observation Innovativen
ess
Unconven.
Opera
Attendance
Unconven.
Ballet
Attendance
… Cinema
Attendance
1 50 2 1 2
2 25 1 0 1
…
N 45 1 0 0
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7. Measurement: Innovativeness
• I keep close eye on the repertoire. I need to be informed about coming
performances
• I am a long time visitor of the opera theatre
• I like attending experimental performances
• I decide to attend a new performance easy and quick
• I decide to attend a new performance on my own
• I belief the theatre needs to keep up with times
• I would prefer attending an experimental performance than a classical
one
• Before attend a new performance I seek opinions in social media and
press
• I am interested in everything what concerns to new performances
• Generally I am interested in innovations and current developments in
theatrical art
• I consider myself as an theatrical art connoisseur.
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Cronbach’s Alpha=0,789

8. Transformation of innovativeness
scale into binary attributes
1. Sum for an each respondent
2. Normalizing
3. Quartiles:
• 0 – 1,727272 – conservatives,
• 2, 9090909 – 4 – innovators,
• others are medium
4. Variable 1: conservatives – 1, others – 0 (195 cases)
Variable 2: innovators – 1, others – 0 (174 cases)
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9. Measurement of Attendance
Did not
attend
Once a year Few
times
a year
1.Modern ballet («Winter dreams», «When snow was
falling», «Les noces»)
0 1/0 1
2. Musical
3.Classical ballet («Swan Lake», «Gisell», «Romeo and
Julliet»)
0 1/0 1
4.Symphonic concert
5.Drama performances
6.Modern opera («Nosferatu», «Marriage of Figaro») 0 1/0 1
7.Cinema
8.Classic opera («Eugene Onegin», “Prince Igor», «Boris
Godunov»)
0 1/0 1
9.The drama performances starring famous movie and
theatre actors 9

10. Innovators are more omnivore
94 (48.2%)
Unconv. ballet,
Classical ballet,
Unconv. opera,
Classical opera
Classical ballet
155 (79.5%)
Innovators (common)
195 (100%)
Unconv. ballet
134 (68.7%)
Unconv. opera
160 (82.1%)
Classical opera
159 (81.5%)
Unconv. ballet,
Classical ballet
110 (56.4%)
Classical ballet,
Unconv. opera
131 (67.2%)
Classical ballet,
Classical opera
134 (68.7%)
Unconv. ballet,
Unconv. opera
123 (63.1%)
Unconv. ballet,
Classical opera
114 (58.5%)
Unconv. opera,
Classical opera
139 (71.3%)
Unconv. ballet,
Classical ballet,
Unconv. opera
102 (52.3%)
Unconv. ballet,
Classical ballet,
Classical opera
99 (50.8%)
Classical ballet,
Unconv. opera,
Classical opera
119 (61%)
Unconv. ballet,
Unconv. opera,
Classical opera
107 (54.9%)
Subsample – innovators attending any kind
of operas or ballets at least once a year
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11. Conservatives celebrate classic
performing arts
15 (8.6%)
Unconv. ballet,
Classical ballet,
Unconv. opera,
Classical opera
Classical ballet
136 (78.2%)
Conservatives (common)
174 (100%)
Unconv. ballet
42 (24.1%)
Unconv. opera
44 (25.3%)
Classical opera
104 (59.8%)
Unconv. ballet,
Classical ballet
39 (22.4%)
Classical ballet,
Unconv. opera
39 (22.4%)
Classical ballet,
Classical opera
94 (54%)
Unconv. ballet,
Classical opera
30 (17.2%)
Unconv. opera,
Classical opera
35 (20.1%)
Unconv. ballet,
Classical ballet,
Unconv. opera
17 (9.8%)
Unconv. ballet,
Classical ballet,
Classical opera
29 (16.7%)
Classical ballet,
Unconv. opera,
Classical opera
32 (18.4%)
Subsample – conservatives attending
any kind of operas or ballets at least
once a year
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12. The Phantom of the Opera
21 (10.8%)
Unconv. ballet,
Classical ballet,
Unconv. opera,
Classical opera
Classical ballet
80 (41%)
Innovators (common)
195 (100%)
Unconv. ballet
68 (34.9%)
Unconv. opera
108 (55.4%)
Classical opera
87 (44.6%)
Unconv. ballet,
Classical ballet
36 (18.5%)
Classical ballet,
Unconv. opera
50 (25.6%)
Classical ballet,
Classical opera
51 (26.2%)
Unconv. ballet,
Unconv. opera
52 (26.7%)
Unconv. ballet,
Classical opera
35 (17.9%)
Unconv. opera,
Classical opera
64 (32.8%)
Unconv. ballet,
Classical ballet,
Unconv. opera
26 (13.3%)
Unconv. ballet,
Classical ballet,
Classical opera
26 (13.3%)
Classical ballet,
Unconv. opera,
Classical opera
39 (20%)
Unconv. ballet,
Unconv. opera,
Classical opera
30 (15.4%)
Subsample – innovators attending any
kind of operas or ballets few times a year
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13. Conservatives don’t go often
1 (0.6%)
Unconv. ballet,
Classical ballet,
Unconv. opera,
Classical opera
Classical ballet
71 (40.8%)
Conservatives (common)
174 (100%)
Unconv. ballet
6 (3.4%)
Unconv. opera
7 (4%)
Classical opera
49 (28.2%)
Unconv. ballet,
Classical ballet
4 (2.3%)
Classical ballet,
Classical opera
34 (19.5%)
Unconv. opera,
Classical opera
6 (3.4%)
Unconv. ballet,
Classical ballet,
Classical opera
3 (1.7%)
Classical ballet,
Unconv. opera,
Classical opera
5 (2.9%)
Subsample – conservatives attending any
kind of operas or ballets few times a year
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14. Conclusion
• The innovators and the conservatives have different
patterns of art consumption
• The both groups are heterogeneous
• Innovativeness links with higher level of consumption
of both kinds of performances
• Innovators and conservatives share the trend of
combination of classic and unconventional
performances, but for conservatives this co-occurence
is rarer
• Unconventional ballet is the most complicated for
diffusion
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15. Hypothesis for future work
• Innovators have statistically significant differences
in the attendance between the set of classic and
unconventional performances united in the same
formal concept, but not between single
performances
• Innovativeness rises the attendance of
unconventional opera
• Conservatism rises performances classic ballets and
operas separately
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16. Thank you for your attention!
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