Submitted by Mariana Dornelles Vargas (marianadv) on 2015-04-01T14:13:05Z No. of bitstreams: 1 from_basic.pdf: 1929821 bytes, checksum: 770b2c0180db6cf5fcf53dc88dc9f3f3 (MD5) / Made available in DSpace on 2015-04-01T14:13:05Z (GMT). No. of bitstreams: 1 from_basic.pdf: 1929821 bytes, checksum: 770b2c0180db6cf5fcf53dc88dc9f3f3 (MD5) Previous issue date: 2011-06-17 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims at explaining the elements involved with the upgrading processes in value chains. Empirical data about the upgrading processes of apparel production and consumption in Brazil is taken as a way to explore upgrading strategies in the context of a growing fashion industry. We assume that fashion has been a key element in the apparel production which responds to upgrading in apparel value chains, turning basic apparel into more valued products and services as they are embedded by particular social values recognized and legitimized as fashion trends. Consequently, fashion apparel is an enterprise which involves dealing with two different processes: (1) the tangible or material production process of apparel items and (2) the intangible or immaterial production process of fashion concept. To explain the two diverse but consonant processes, this study draws upon two theoretical approaches to unveil the value creation that leads to upgrading in apparel production. Both theoretical approaches feature value‐adding processes but in different ways: (i) the global apparel value chain industrial upgrading approach highlights the tangible production of apparel items through contractors industrial upgrading process and (ii) the fashion social embedded system approach focuses on intangible production of fashion concept or belief through a cultural upgrading process. Furthermore, bolstered on these two theoretical approaches and on empirical data, this study delineates three propositions to discuss and characterize the means by which upgrading occurs: (a) through a linear value chain configuration; (b) by way of a network system or (c) via 3 a loose chain. The results suggest that basic apparel production upgrades to fashion apparel production and consumption when different players intertwine, producing, sharing and/or incorporating intangible value‐adding activities such as designing and image‐making. The embedment of intangible value turns apparel players into hybrid forms casting doubt on the industrial/traditional upgrading approach of the apparel value chains. These hybrid forms reveal a broad perspective for upgrading in apparel production, highlighting a convergence of tangible and intangible activities related to apparel production in the realm of a fashion apparel loose chain. / Esta dissertação procura explicar os elementos envolvidos com os processos de progressão nas cadeias de valor. Dados empíricos sobre os processos de progressão da produção e do consumo de vestuário no Brasil são considerados como uma maneira de explorar estratégias de progressão no contexto de um setor de moda em desenvolvimento. Adotamos como premissa que a moda tem sido um elemento chave na produção de vestuário. A moda responde pela progressão das empresas nas cadeias de valor do vestuário, transformando o vestuário básico em produtos e serviços mais valorizados na medida em que eles são incorporados por determinados valores sociais reconhecidos e legitimados como tendências de moda. Conseqüentemente, o vestuário de moda é uma iniciativa que lida com dois processos diferentes: (1) o processo de produção tangível ou material de itens de vestuário e (2) o processo de produção intangível ou imaterial do conceito de moda. Para explicar esses dois diferentes, mas também convergentes processos, o presente estudo se baseia em duas abordagens teóricas para desvendar a criação de valor que leva à progressão na produção de vestuário. Ambas as abordagens teóricas apresentam os processos de agregação de valor, mas de maneiras diferentes: (i) a abordagem da progressão industrial na cadeia global de valor do vestuário destaca a produção tangível de itens de vestuário por meio do processo de progressão industrial dos contratados envolvidos na cadeia e (ii) a abordagem do sistema de moda impregnado por valores sociais que se foca na produção intangível 5 do conceito ou crença de moda através de um processo de progressão cultural dos agentes envolvidos no sistema. Ademais,, baseado nestas duas abordagens teóricas e em dados empíricos, este estudo propõe três proposições para discutir e caracterizar os meios pelos quais a progressão ocorre: (a) através de uma configuração linear de cadeia de valor; (b) por meio de um sistema em rede ou ( c) via uma cadeia flexível. Os resultados sugerem que a produção do vestuário básico progride para a produção e consumo do vestuário de moda quando diferentes agentes se envolvem nessa iniciativa, produzindo, partilhando e/ ou incorporando atividades de agregação de valor intangível como o design e a construção de imagem. A incorporação do valor intangível transforma os agentes produtores de vestuário em formas híbridas, lançando dúvidas sobre a abordagem da progressão industrial/tradicional das cadeias de valor do vestuário. Estas formas híbridas revelam uma ampla perspectiva para a progressão na produção de vestuário, com destaque para uma convergência de atividades tangíveis e intangíveis relacionados à produção de vestuário no âmbito de uma cadeia flexível de vestuário de moda.

A tese analisa as transformações socioespaciais das metrópoles de São Paulo e Rio de Janeiro na virada do século XX para o XXI a partir do turismo e da moda, refletidos como economias culturais do espaço. Para isso, considera os acionamentos e sentidos do turismo, para além de suas categorizações, e pelas quais é possível identificar uma turistificação urbana presente em diferentes níveis e escalas; um primeiro verificado nos discursos e sentidos das políticas urbanas de promoção da imagem urbana e competição internacional; um segundo na busca da diversificação e comoditização da experiência turística, numa imiscuição dos negócios ao lazer, à cultura e ao entretenimento; um terceiro a partir da necessidade de reconciliação das centralidades urbanas na medida em que verifica a emergência de um centro econômico e simbólico dessas metrópoles que transita e reforça os diálogos entre os seus centros históricos tradicionais e suas novas centralidades terciárias. No plano da moda, a análise foca as mutações do setor, desde processos de reestruturação econômica e espacial das indústrias e mercados têxteis e do vestuário na escala metropolitana, bem como na produção e reprodução de cenas e circuitos criativos que associam à moda repertórios simbólicos e narrativas identitárias numa imagética da economia simbólica em que São Paulo e Rio de Janeiro são mercados, mas também produtos. Numa perspectiva mais ampla, as metrópoles de São Paulo e Rio de Janeiro são refletidas como hipermetrópoles, categoria que convida a pensar a vida e os objetos socioespaciais como uma exacerbação dos próprios sentidos e projetos da hipermodernidade em que se poderiam entrever novas urbanidades possíveis nas simultâneas e complexas escalas das existências metropolitanas contemporâneas. / This thesis analyze the sociospatial changes at São Paulo and Rio de Janeiro capital cities in the period of turnover from the XX to the XXI Century with regards to tourism and fashion, these being reflected as cultural economies of space. Tourism uses and senses are considered beyond its categorizations, identifying an urban touristification process at different levels and scales; (1) in speeches and senses of urban policies for urban image promotion and international competition; (2) in search of diversification and commoditization of touristic experience by business intermeddling with pleasure, culture and entertainment; (3) from the need of reconciliation of urban centers according to the emergency of an economic and symbolic center of these metropolis reinforcing the relationship between traditional historical centers and new tertiary centers. Concerning fashion the analyzes is focused on changes of the sector considering processes of economic and spatial restructures of industries and textile markets and of clothing at metropolitan scales, as well as production and reproduction of creative scenes and circuits associating fashion to an identity symbolic and narrative repertoire through image of symbolic economy in which São Paulo and Rio de Janeiro are market-inserted and also products. In a wider perspective, São Paulo and Rio de Janeiro metropolis reflect themselves as hypermetropolis leading us to think about life and sociospatial objects as exacerbation of senses and projects of hypermodernity in which new urbanities are likely in simultaneous and complex scales of contemporary metropolitan existences.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2018-05-08T18:17:58Z No. of bitstreams: 2 Dissertação - Marizélia Ribeiro de Souza - 2018.pdf: 1518837 bytes, checksum: 4322550b0f27cdf6dbe2326d9e690727 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-09T11:28:05Z (GMT) No. of bitstreams: 2 Dissertação - Marizélia Ribeiro de Souza - 2018.pdf: 1518837 bytes, checksum: 4322550b0f27cdf6dbe2326d9e690727 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-09T11:28:05Z (GMT). No. of bitstreams: 2 Dissertação - Marizélia Ribeiro de Souza - 2018.pdf: 1518837 bytes, checksum: 4322550b0f27cdf6dbe2326d9e690727 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper aims to analyze the role of professionalization and the job market talent in culture in Brazil. Therefore, the data is obtained from 2010 Census and the selected courses are those that apply specific skills test, that composes the list of the upper level courses in the Census. These tests are used as a proxy to the talent of the cultural field workers. When verifying the probability determinants that a worker put its labor force to the cultural activities, in exclusive or partial time, or other productive activities, it is observed that having a specific degree on the cultural department tends to increase their incomes, especially to those who work entirely with artistic activities. In addition to the specific training, there are other factors that cannot be observed which influence the insertion and improves the income of the workers in the culture segment, such as the talent. In this paper, it is used an Oaxaca analysis (1973), with the aim to measure this variable. Therefore, the graduation courses in the culture field that require specific skills test are used as proxy. / O presente trabalho tem como objetivo analisar o papel da profissionalização e do talento no mercado de trabalho em cultura no Brasil. Para tanto são extraídos dados do Censo 2010 e, os cursos selecionados são aqueles que aplicam uma prova de habilidades específicas, que compõem a lista de formação dos cursos de nível superior no Censo. Estes testes são utilizados como uma proxy para talento dos trabalhadores do campo cultural. Além da formação específica, existem outros fatores não observáveis que influenciam na inserção e numa melhora do rendimento de trabalhadores no segmento de cultura, dentre eles, o talento. Ao verificar os determinantes da probabilidade de que um trabalhador volte sua força laboral para atividades culturais, em tempo exclusivo ou parcial, ou demais atividades produtivas se observa que ter uma formação específica no setor cultural, tende a aumentar seus rendimentos, sendo esse efeito maior para aqueles que trabalham integralmente com atividades artísticas. Na presente dissertação, é utilizada uma decomposição de Oaxaca (1973), com intuito de mensurar essa variável.

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Dans le contexte urbain du Burkina Faso, la chanson de sensibilisation se situe au coeur des pratiques sociales traditionnelles, des nouvelles économies culturelles et des approches participatives en matière de développement. Cette pratique répond à des enjeux particuliers au contexte local et aux relations internationales. La musique comme outil commun de communication sociale artistique rejoint des stratégies professionnelles différentes chez les artistes-musiciens et les associations locales. Pour les premiers, nous pouvons porter un regard sur la place du musicien dans la société contemporaine burkinabè, entre paupérisation et mondialisation. Pour les seconds, la chanson de sensibilisation s’inscrit comme une tentative d’innover dans les approches d’Information, Éducation et Communication (IEC) pour la santé et la Communication pour le Changement de Comportement (CCC). Ce mémoire présente les modes de collaboration entre les artistes-musiciens et les associations locales qui oeuvrent en santé au Burkina Faso. Il décrit l’état respectif de leur champ puis analyse les négociations sociales issues de leur rencontre. La problématique de recherche s’inscrit dans des courants de recherche en anthropologie et établit un pont avec la praxis de l’animation sociale et culturelle. La chaîne de création (production-diffusion-consommation) permet de poser un regard historique sur les concepts de culture et de développement dans le contexte particulier de l’Afrique de l’Ouest francophone. / In the urban context of Burkina Faso, music and songs with a message for social education have become an intersection for traditionnal social practice, news cultural economies and participative development programs. This practice responds to specific local and international issues. As a common resource of social and artistic communication, music represents a strategic resource for musicians and local associations. For the former, we can discuss the role of the musician in contemporary society, between impoverisation and globalization. For the latter, music and songs with a message for social education are an innovative approach of Information, Éducation et Communication pour la santé (IEC/santé) and Communication pour le Changement de Comportement (CCC). In this research, we present the diverse levels of collaboration between musicians artist and local associations working in the healthcare sector in Burkina Faso. The ethnography presents the particular sphere of each group and analyzes the social negociations that results from their encounter. The research question proposed here falls between cultural studies and the study of social change. Hence, the chain of creation-production-diffusion commoditization allows us to study the history of complex concepts such as culture and developpement in a particular setting in Frenchspeaking West Africa.

The return of Māori land to a productive role in the New Economy entails the innovation and diffusion of technologies relevant to the sustainable development of this land. Sustainable development requires substantive changes to current land and resource use to mitigate environmental degradation and contribute to ecological and sociological resilience. Such innovation is emerging in 'New Economic Space' where concerns for cultural resilience have arisen as political-economic strategies of the New Economy converge within a global economic space. New Economic Space comprises policy, technology and institutional innovations that attempt to influence economic activity, thus directly engaging with local 'place-based' expressions of geohistorically unique knowledge and identity. This thesis approaches contemporary Māori development from three perspectives. First, by viewing the changing links between ecosystems and communities as examples of innovation diffusion, the evolution of relevant policies, technologies and institutions can be examined for their impact upon Māori resilience. Second, such innovation diffusion can be described as a form of regional development, acknowledging the integral role of traditional territories in Māori identity and culture as well as the distinct legislative and governance contexts by which this land is developed. Third, by incorporating the geohistorical uniqueness of Māori ideas, values and beliefs, standard concepts of political-economy can be reformulated to show an explicit cultural economy – Māori Traditional Economic Space – in which Māori horticulturalists participate in parallel with the New Economy. Two methods are used in the analysis of the participation by Māori horticulturalists in New Economic Space. Fuzzy set/Qualitative Comparative Analysis (fs/QCA) allows the rigorous investigation of small-N studies of limited diversity for their partial membership in nominated sets. This thesis uses fs/QCA to organise theoretical and substantive knowledge of each case study to score its membership in agri-food networks, Māori institutions and post-production strategies, allowing the identification of causal configurations that lead to greater resilience for Māori growers and their communities. The second method is Actor-Network Theory (ANT) that incorporates elements of nature and society, showing the extensive and dynamic entwinement that exists between the two. ANT describes the enrolment of diverse 'actants' by a range of eco-social institutions and the subsequent translation of the resulting assemblages into resilience strategies. The results of this research first show a 'System of Provision' (SOP) in which Māori development strategies converge with non-Māori attempts to expand research and marketing programmes. These programmes seek to implement added-value strategies in supplying novel horticultural products within New Economic Space; parallel 'cultural logics' ensure food is supplied to traditional Māori institutions according to the cultural logics of Māori. In addition to this finding, results also show that the participation of Māori growers in New Economic Space can paradoxically lead to an expansion of the Traditional Economic Space of Māori. This expansion is not simply contingent upon configurations of policy, technology, and institutional innovations that originate in New Economic Space but is directed by Māori cultural logics, located in Māori territories but seeking innovations from an amorphous universal 'core'. The interface between the global New Economy and the localities of a Māori cultural economy is defined by the 'interrogation' of these innovations, and innovators, through eco-cultural institutions in their diffusion to and from Māori land, Māori resources and Māori people. Within the boundaries of this interrogation border resides a malleable assemblage of actants, enrolled by Māori as components of resilience strategies, which can lead to the endurance of Māori culture.

Dans le contexte urbain du Burkina Faso, la chanson de sensibilisation se situe au coeur des pratiques sociales traditionnelles, des nouvelles économies culturelles et des approches participatives en matière de développement. Cette pratique répond à des enjeux particuliers au contexte local et aux relations internationales. La musique comme outil commun de communication sociale artistique rejoint des stratégies professionnelles différentes chez les artistes-musiciens et les associations locales. Pour les premiers, nous pouvons porter un regard sur la place du musicien dans la société contemporaine burkinabè, entre paupérisation et mondialisation. Pour les seconds, la chanson de sensibilisation s’inscrit comme une tentative d’innover dans les approches d’Information, Éducation et Communication (IEC) pour la santé et la Communication pour le Changement de Comportement (CCC). Ce mémoire présente les modes de collaboration entre les artistes-musiciens et les associations locales qui oeuvrent en santé au Burkina Faso. Il décrit l’état respectif de leur champ puis analyse les négociations sociales issues de leur rencontre. La problématique de recherche s’inscrit dans des courants de recherche en anthropologie et établit un pont avec la praxis de l’animation sociale et culturelle. La chaîne de création (production-diffusion-consommation) permet de poser un regard historique sur les concepts de culture et de développement dans le contexte particulier de l’Afrique de l’Ouest francophone. / In the urban context of Burkina Faso, music and songs with a message for social education have become an intersection for traditionnal social practice, news cultural economies and participative development programs. This practice responds to specific local and international issues. As a common resource of social and artistic communication, music represents a strategic resource for musicians and local associations. For the former, we can discuss the role of the musician in contemporary society, between impoverisation and globalization. For the latter, music and songs with a message for social education are an innovative approach of Information, Éducation et Communication pour la santé (IEC/santé) and Communication pour le Changement de Comportement (CCC). In this research, we present the diverse levels of collaboration between musicians artist and local associations working in the healthcare sector in Burkina Faso. The ethnography presents the particular sphere of each group and analyzes the social negociations that results from their encounter. The research question proposed here falls between cultural studies and the study of social change. Hence, the chain of creation-production-diffusion commoditization allows us to study the history of complex concepts such as culture and developpement in a particular setting in Frenchspeaking West Africa.

Syfte: Att undersöka huruvida scenkonstkompanier bildar industrispecifika kluster som ger upphov till gemensamma fördelar och därmed kan höja den konstnärliga kvaliteten.  Metod: En kvantitativ enkätundersökning bland aktiva svenska scenkonstkompanier som analyserats genom principalkomponentanalys. Slutsatser: Det tycks finnas ett kluster av scenkonstverksamhet i Stockholm. Klustret inkluderar dock inte alla kompanier som finns på platsen, vilket indikerar att scenkonst inte är ett bra begrepp för att avgränsa kluster. Genre, professionalitetsgrad och närvaron av en konstnärlig ledare som inte också ingår i ensemblen tycks vara viktiga faktorer för att förstå vilka verksamheter som bildar gemensamma kluster. / Purpose: To determine whether the Performing Arts form industry specific clusters that share positive externalities and improve artistic quality. Method: A quantitative study based on a survey among active Swedish performing arts companies, analyzed by means of a Principal Components’ Analysis. Results: A cluster of Performing Arts’ companies seems to exist in Stockholm. However, the cluster does not include all Performing Arts’ activities present in the area, indicating that Performing Arts is not a good delineator of the specific activities prone to form a common cluster. Genre, professionality and the presence of an Artistic Director who doesn’t take part in the ensemble seem to be important factors to predict liability to form local clusters.

<p>Background: The theater market has matured – supply now exceeds demand. Government funds are on a decrease, replaced by other means of financing. The city of Stockholm will be introducing a bonus system that will benefit independent theater groups that succeed to increase their revenue and attendance. Hence, the audience will play an even greater role, a tendency some free theater groups come to terms with by interacting with the audience to create value.</p><p>Thesis statement: What factors lead to the long-term survival of the independent theater groups, allowing them to benefit from the imminent bonus system?</p><p>Purpose: To analyze and evaluate the marketing strategies of the independent theater groups, in reference to their capability of long-term survival through value creation along with the audience, thereby increasing attendance and ticket revenue.</p><p>Methodology: The study combines quantitative and qualitative approaches and methods. Interviews were conducted with the producers at three independent theater groups in the city of Stockholm. The questionnaire was answered by 90 members of the independent theater group audience.</p><p>Areas of theory: Value creation, marketing communication and customer characteristics.</p><p>Results: There is a lack of coherence between the marketing strategies of the independent theater groups and the characteristics of the audience. Hence, the independent theater groups are currently facing poor conditions for long-term survival through growth in audience and revenue. However, if the strategies are adjusted to the audience’s inclination to participate in the value creation, the conditions may improve.</p><p>Conclusions: The important factors leading to long-term survival of the independent theater groups, thereby increasing audience participation and ticket revenue, are: ”Co-production of values”, ”Enabling” and ”Word of mouth”. Co-production of value must however not apply to the artistry, since the audience seems to guard artistic freedom.</p> / <p>Bakgrund: Teatermarknaden har mognat – utbud övergår efterfrågan. Bidragen minskar till förmån för en breddad finansiering. Ett bonussystem ska införas i Stockholms stad, vilket kommer att gynna fria teatergrupper som ökar sina intäkter och sitt publikantal. Publiken spelar således en allt viktigare roll och vissa fria teatergrupper försöker hantera detta genom att värdeskapa i interaktion med publiken.</p><p>Problemformulering: Vilka faktorer är viktiga för att fria teatergrupper ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet?</p><p>Syfte: Att analysera och utvärdera fria teatergruppers marknadsföringsstrategier med avseende på deras förutsättningar att överleva långsiktigt genom att värdeskapa med publiken och på så sätt öka sitt publikantal och sina biljettintäkter.</p><p>Metod: Studien kombinerar kvantitativa och kvalitativa ansatser och metoder. Intervjuer har genomförts med producenterna för tre fria teatergrupper i Stockholms stad och enkätundersökningar har genomförts med totalt 90 personer i de fria teatergruppernas publik.</p><p>Teoriområden: Värdeskapande, marknadskommunikation och kundegenskaper.</p><p>Resultat: Studien visar att de fria teatergruppernas publik är villig att skapa värde tillsammans med teatergrupperna. Såtillvida har de fria teatergrupperna goda förutsättningar att överleva långsiktigt genom att värdeskapa med sin publik. Det råder dock brist på överensstämmelse mellan de fria teatergruppernas strategier och publikens egenskaper. För att uppnå långsiktig överlevnad genom att öka sitt publikantal och sina biljettintäkter måste de fria teatergrupperna anpassa sina strategier till publikens vilja att deltaga i värdeskapandet.</p><p>Slutsats: De faktorer som är viktiga för att de fria teatergrupperna ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet är ”samproduktion av värde”, ”möjliggörande” och ”word-of-mouth”. Samproduktionen av värde bör dock inte gälla den konstnärliga verksamheten, då publiken tycks värna den konstnärliga friheten.</p>

Background: The theater market has matured – supply now exceeds demand. Government funds are on a decrease, replaced by other means of financing. The city of Stockholm will be introducing a bonus system that will benefit independent theater groups that succeed to increase their revenue and attendance. Hence, the audience will play an even greater role, a tendency some free theater groups come to terms with by interacting with the audience to create value. Thesis statement: What factors lead to the long-term survival of the independent theater groups, allowing them to benefit from the imminent bonus system? Purpose: To analyze and evaluate the marketing strategies of the independent theater groups, in reference to their capability of long-term survival through value creation along with the audience, thereby increasing attendance and ticket revenue. Methodology: The study combines quantitative and qualitative approaches and methods. Interviews were conducted with the producers at three independent theater groups in the city of Stockholm. The questionnaire was answered by 90 members of the independent theater group audience. Areas of theory: Value creation, marketing communication and customer characteristics. Results: There is a lack of coherence between the marketing strategies of the independent theater groups and the characteristics of the audience. Hence, the independent theater groups are currently facing poor conditions for long-term survival through growth in audience and revenue. However, if the strategies are adjusted to the audience’s inclination to participate in the value creation, the conditions may improve. Conclusions: The important factors leading to long-term survival of the independent theater groups, thereby increasing audience participation and ticket revenue, are: ”Co-production of values”, ”Enabling” and ”Word of mouth”. Co-production of value must however not apply to the artistry, since the audience seems to guard artistic freedom. / Bakgrund: Teatermarknaden har mognat – utbud övergår efterfrågan. Bidragen minskar till förmån för en breddad finansiering. Ett bonussystem ska införas i Stockholms stad, vilket kommer att gynna fria teatergrupper som ökar sina intäkter och sitt publikantal. Publiken spelar således en allt viktigare roll och vissa fria teatergrupper försöker hantera detta genom att värdeskapa i interaktion med publiken. Problemformulering: Vilka faktorer är viktiga för att fria teatergrupper ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet? Syfte: Att analysera och utvärdera fria teatergruppers marknadsföringsstrategier med avseende på deras förutsättningar att överleva långsiktigt genom att värdeskapa med publiken och på så sätt öka sitt publikantal och sina biljettintäkter. Metod: Studien kombinerar kvantitativa och kvalitativa ansatser och metoder. Intervjuer har genomförts med producenterna för tre fria teatergrupper i Stockholms stad och enkätundersökningar har genomförts med totalt 90 personer i de fria teatergruppernas publik. Teoriområden: Värdeskapande, marknadskommunikation och kundegenskaper. Resultat: Studien visar att de fria teatergruppernas publik är villig att skapa värde tillsammans med teatergrupperna. Såtillvida har de fria teatergrupperna goda förutsättningar att överleva långsiktigt genom att värdeskapa med sin publik. Det råder dock brist på överensstämmelse mellan de fria teatergruppernas strategier och publikens egenskaper. För att uppnå långsiktig överlevnad genom att öka sitt publikantal och sina biljettintäkter måste de fria teatergrupperna anpassa sina strategier till publikens vilja att deltaga i värdeskapandet. Slutsats: De faktorer som är viktiga för att de fria teatergrupperna ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet är ”samproduktion av värde”, ”möjliggörande” och ”word-of-mouth”. Samproduktionen av värde bör dock inte gälla den konstnärliga verksamheten, då publiken tycks värna den konstnärliga friheten.