2. Experience Staging

Organizers would attend to

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Unformatted text preview: portions of the model (in the upper and lower sections of Figure 1) are focused on producing unspeciྰed “guest experiences,” represented by the circle in the center of the ྰgure. The guest experiences that result include a variety of motivational and emotional states. Pine and Gilmore (1999) and Oh, Fiore, and Jeoung (2007) discuss concepts of immersion and absorption as being a result of experience encounter staging. Examples of other potentially relevant experiences would be involvement (Havitz & Mannell, 2005; Havitz & Dimanche, 1997; Iwasaki & Havitz, 2004; Iwaskaki & Havitz, 1998; Kyle & Mowen, 2005; Schuett, 1993), mood (Szabo, 2003), boredom and anxiety (McCormick, Funderbunk, Lee, & Hale- Fought, 2005), engagement (Douglas, 2007), delightedness (Kano, 1984), mindfulness (Moscardo, 1996; 1999), fun (Wells, Ellis, Paisley, & Arthur- Banning, 2005) micro- ྰow (Csikszentmihalyi, 1988), attention restoration (Norling, Sibthorp, & Ruddell, 2008), and affect (Watson, Clark, & Tellegan, 1988). Research is needed to determine what immediate experiences are most amenable to changes, as a function of the technical and artistic manipulations implemented by the experience stager. Finally, an oval described as “co- creation” circles the “guest experience” portion of the model. Co- creation describes processes involving the actions of both a provider and a consumer through which experience is created (Prahalad & Ramaswamy, 2004). In the case of the current model, the inclusion of co- creation suggests that the quality of an experience cannot be fully provided by manipulations of the experience stager. The effect of artistic and technical factors is usually mitigated by the motivational state of the participant. Simply put, no one can fully stage an encounter experience that will always result in a memorable experience for each guest. Rather, staging strategies facilitate the opportunity for guests to have experiences that are of...
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