2. Experience Staging

Performances on stage in musical

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Unformatted text preview: to those speciྰc technical areas (e.g., Dattilo, 2000; Robertson & Long, 2008; Miles & Priest, 1999; Gilbertson, Bates, McLaughlin, & Ewert, 2005). Although the entire set of Pine and Gilmore’s (1999) principles may not be implemented, any staged experience is enhanced with each principle that is implemented. Thus, organizations can begin incrementally improving the experiences they provide by selectively introducing these principles when possible. It is notable that the impact of virtually any set of encounter- staging principles is dependent upon a greater context of service quality and customer experience (Shaw & Ivens, 2005; Smith & Wheeler, 2002; Ralston, Ellis, Compton, & Lee, 2006). Presence of an engaging theme, implementation of features that appeal to multiple senses, and provision of memorabilia for guests are all meaningless if staff are rude and unresponsive, equipment fails, queues are annoyingly long, and workers lack interest in the needs and wants of guests. A complete model for staging recreation encounters must include attention to factors that affect judgments of service and experience quality. We propose such a model in Figure 1. That model is an integration of Pine and Gilmore’s (1999) principles with select literature on customer service (Cronin & Taylor, 1994; Parasuraman, Zeithaml, & Berry, 1988; Parasuraman, Berry, & Zeithaml, 1991; Williams & Buswell, 2003) and quality management (Kano, 1984). In the Figure, we have crafted a metaphor for experience encounter staging around the two performance areas of ྰgure skating competition. In ྰgure skating, judges evaluate the extent to which competitors execute speciྰc skills correctly—technical performance. And, in a separate evaluation, they rate the competitors’ creativity, beauty, and musical interpretation, for example, artistic performance. Consistent with that metaphor, the “technical performance” of professionals can be distingui...
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