Métodos de lucha: tipos de tratamientos

The definitions of event design presented in the literature have focused on the form and function of the event rather than the process of design itself. Monroe (2006) defines event design as:-

“…the concept of a structure for an event, the manifest expression of that concept expressed verbally and visually which leads, finally to the execution of the concept”

p4.

Berridge (2012) describes event design as a simulated stage-managed environment, creating authentic moments of experience within that setting for guests and participants.

100 The discussions on event design are also usually rooted in the objective of creating an experience, acknowledging the experience economy thesis of Pine and Gilmore (2011). Getz (2010; 2012) has argued that if the individual will construct their personal meaning of the experience, then event experiences cannot be designed or engineered due to their heterogeneous meaning. He points out that whilst event design can help create the entire system and process of planning, managing and delivering an event, it cannot guarantee how people will respond to it or whether the stimuli provided will be received in the way it was intended.

Berridge (2012) agrees that experiences are complex to interpret as they have many layers and meanings which are specific to individuals and their context, however, he does suggest that there are possibilities to designing the event experience. In addition, he notes that it is important to have foresight of the nature of interactions between people and the relationships they have with each other and the physical environment. Therefore, while event producers can design the programme, theme, service quality, consumables and setting, there will always be the core element of experiencing the event along the conative, affective and cognitive dimensions which cannot be standardised. Berridge (2012) recommends that the creation of the planned event experience should be part of a deliberate and integrated design–based process whereby each element of the event is carefully mapped out in order to produce an environment (or setting) with an opportunity for the creation of the anticipated experiences.

Table 1 provides an overview of findings from a review of the wider literature in event studies to understand how event design has been discussed and studied. The literature reveals a focus on discussions around designing the event experience for the attendees. Terms like

‘participation’ are mainly used in relation to getting attendees to be active consumers of the event. This also leads to the use of the terms like ‘co-creation’ and co-performers’. As discussions on event design are always linked to the experience economy, references to

‘personalisation’ are ever present. Event design is seen as the initial phase in the performative

101 process and references are made to ‘atmospherics’, ‘servicescape’, ‘dramaturgy’ (Bitner, 1992; Nelson, 2009). There is also a focus in the literature on incorporating elements of environmental psychology as recommended by Mossberg (2007) and the development of

‘experiencescapes’ – where experiences are co-created through staging and direct participation of attendees (O’Dell and Billing, 2005). This also includes the strategic combination of setting, sensory, symbolic, temporal and meaningful aspects of experiences (Diller, Shedroff and Rhea, 2008) as well as the importance of getting the right elite labour (aesthetic and performative labour) who present the right kinds of emotion and look the part while performing and are effective in the role (Nickson, Warhurst and Dutton, 2005).

Table 1: Summation of Themes in Event Design Literature

Themes Authors

Focus on attendees, consumers, delegates, customers

Bitner 1992; Kale, Pentecost and Zlatevska, 2010

Performative and staging elements in event design

Brown and James, 2004; Nelson, 2009; Pentecost and Zlatevska, 2010; Berridge, 2012; Ferdinand and Williams, 2012

Service elements – servicescape; customer service

Bitner, 1992; Csiksentmihalyi 1997; Silvers, 2004; O’Dell and Billing, 2005; Ralston et al, 2007; Kale, Pentecost and Zlatevska, 2010

Physical elements – environment; props

Mossberg, 2007; Ferdinand and Williams, 2012; Berridge, 2007; 2012; Getz, 2012

Sensorial elements – 5 senses; WOW factor

Manners, Saayman and Kruger, 2014; Diller, Shedroff and Rhea, 2008; Getz, 2012; Saayman and van de Merwe, 2014 Leveraging strategies Chalip, 2006; Bjorner and Berg, 2012

Terms like staging, theming and scripting are frequently used as the purpose of design focuses on creating a space for event staff (sometimes referred to as ‘actor’s’) to engage; educate;

entertain; evoke emotions; create a visually captivating WOW factor (importance of aesthetics); leave a memorable impression and motivate the attendees (Bitner 1992; Ralston

102 et al 2007; Nelson, 2009; Morgan, 2010; Kale, Pentecost and Zlatevska, 2010; Ferdinand and Williams, 2012; Berridge, 2007; 2012; Getz et al, 2012; Cashman, 2012; Bjorner and Berg 2012). The assumption in the literature is that this discussion is amongst events management professionals, thus the terminology and language used includes references to clients, consumers, objectives, competitive advantage and value for money.

The Event Design Process

Richards, Marques and Mein (2015) published an edited collection on social event design which brought together the ideas and research findings of various authors who have explored the event design process from a social perspective. They acknowledge that a successful event must be designed in such a way that it generates the positive outcomes sought for all stakeholders involved. Thus, in order to do this, an attempt to design event experiences must be based on a deep knowledge of how the audience participates and becomes involved (Blumer, 1969; Denzin, 1978; O’Sullivan and Spangler, 1999; Rossman, 2003; Pine and Gilmore, 2011).

Richards (2015) also asserts that the event design process is a collective and social activity as it requires the circulation of ideas to generate knowledge, thus it is too simplistic to say event design is an activity that is carried out by a lone expert working in isolation. The author advocates event designers be fully aware of the social context pertaining to the event, so that they can link the content to the context. He advocates that the event is designed ’around’

stakeholders or designed ‘to change ‘stakeholders. While this inclusive working does not necessarily have to be participatory, however, the stakeholders must be involved in spaces where trust in others exists or where it can be created and maintained.

103 Table 2: Social event design processes

Design Process Authors

Ritual Focus

Designing events using the rituals important to a community to engage and animate the community.

Richards, 2015

Service Design

Empowering and participatory methods are applied as users are invited to actively take part in this iterative process of visualisation, prototyping, testing and improving

Miettinen, Valtonen and Markuksela, 2015;

Visitor Touchpoints

Focus on visitor touchpoints accepted at the core of the process that power has shifted to the customer and thus the focus is on ceding that power

Gerritsen and van Olderan, 2015

Imagineering

Focus on business events – a process focusing on the co-creation of meaningful experiences aimed at creating value.

Ouwens, 2015

Slow principles

Focus on participation, mindfulness and ethics. The event is organised bottom up and the community is involved in the decision making process and must benefit the community; takes time; rooted in the place; focuses on development

Simons, 2015

Co-creation

no predefined agendas; work with participants from the beginning; democratise the event in the Imagineering process; be flexible and embrace the unpredictability- involve all stakeholders so as to get a higher level of participation

Crowther, and Orefice, 2015

Technology enabled design

Use of advanced technologies and social media, to facilitate the co-creation event through dialogue and sharing of curated content

Calvo-Soraluze and San Salvador del Valle (2015)