2. Experience Staging

2 Experience Staging

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Unformatted text preview: great lengths to add fantasy to the sport experience, with team uniforms, lining and decorating venues to emulate those used by professional athletes, uniformed ofྰcials, and other cues to create the fantasy of participating at a level of competition much higher than the skill level of participants. Yet, we do not apply these same techniques to other park, recreation, and tourism operations. A showcase example is provided by Disney. Guests who dine at Cinderella’s Castle in Disney World, for example, eat in a striking replica of a medieval castle. “Cast members” (Disney’s name for the employees) (Disney Institute, 2001) are not only dressed in costumes that are accurate replicas of medieval costumes, but they also fully play the role of hosts from the medieval era. In terms of theatrical form (the second bullet item above), these cast members are “street theatre” performers. Their challenge is to delight guests through a stable script (e.g., seating the guest, taking orders, and serving food and beverages), and a dynamic performance. Their performance is dynamic because the nature of their conversations and interactions with guests changes to meet individual needs. In all guest interactions, though, cast members must remain “on stage,” in the character of a medieval host. From the perspective of Pine and Gilmore (1999), cast members who work elsewhere in Disney World must use other theatrical forms that are appropriate to their assignments. The actors, dancers, and musicians who contribute performances on stage in musical and theatrical events are “platform theatre” performers. The scripts and performances of those artists are both stable. Cast members who stroll the grounds in costumes of famous Disney characters, and cast members who attend to trash pick- up, guest assistance, and esthetics are improvisational actors. Both their scripts and...
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This document was uploaded on 09/20/2013.

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