A Case Analysis of Cirque Du Soleil

cwm Du Soleil is a ac telephoner that has built its advantage on its mightiness to be notional and innovative. It has victoryfully developed a advanced securities industry and overlayd to expand on that market. This advances cwm Du Soleil an example of a phoner that has creativity and innovation at its base. The following paper result decoct on cwm Du Soleil as a original and innovative company. It testament consider its product and creative strategy. It will look at the social organization of the company and how this enhances creativity.Finally, it will look at the threats facing cirque Du Soleil and what the company can do to ensure its ongoing success. cwm Du Soleils product is a performing circus. The basis of the company is a set up combining music, dance, and field of honor. The ground uses acrobats, gymnasts, clowns, and different per occasions. The surface besides uses a type of music ground on a created language. The purpose of the music is to transcen d cultural boundaries and make the show accessible to everyone. The companys show is also multicultural in nature. It is knowing to reach the widest audience possible.This is done by using the music that is not base on any real language. It is also done by using performers from around the world. The company is global and shows be performed throughout the world. corrie Du Soleil has also expanded into some other aras. This has included releasing two films and a television special. This has also included ventures in publishing and merchandising. Cirque Du Soleil also opened a permanent theater near Disneyland, Florida, in 1998, with the theater including a Cirque Du Soleil store. These expansions show that the company is diversifying in a creative way.The expansions are all based on ways to increase the measure out of the Cirque Du Soleil show. This shows creativity, not in creating untried things, but in finding new ways to benefit from the basic product of the company. The organizational anatomical structure of Cirque Du Soleil is based on recognizing the value of the performers. The persona subscribe describes the former tour director Vincent Gagne stating that he always emphasized to tour round that they were there to serve the artists. This shows that the artists are recognized as representing the value of the company.The other services then move around support services. This is not a national where the artists are at the top of the organizational hierarchy. However, it is a case where the artists are recognized as delivering the service that allows the organization to succeed. Gagne also suggests a neat metaphor for the organizational structure, which is that of a circle. The performers can be considered as organism at the center of the circle. They do not attain high positions or decision-making authority, however they are the basis of the organization. The support staff are in the next circle.They have greater decision-making authority, but their work is defined by their need to satisfy the performers. Several of the employees described in the case study are in this level and they all describe their work as being focused on the performers. Gange does this when he states that the tour staff and skillful people have to realize that they are there to support the artists. The cast of characters director for Cirque Du Soleil, Cantin, describes how she looks for performers based on whether they will be competent to fit in at the company.This shows that the performers are central to the organization and to the decisions made. In the final outer layer of the circle are the upper management. They have the greatest decision-making authority, but they are also operating(a) based on pleasing the performers. This structure supports creativity because it puts the creative people of the company as central to its functioning. At the same time, the decision-making being at higher levels allows the creative people to be free to create and be innovative, without having any concerns associate to how the company functions. other key part of the organizational structure is that it is in clod. This is seen in the case study, where Gagnon describes the company as not having a handbook on employee conduct. It is also seen in the case study where Gagnon describes employees as being laid-off and then rehired. Gagnon also describes an employee newsletter where employees uncensored comments are published. These all show an easy structure and an organizational culture that is based on employee license and low authority over employees. Schein (2003, p. 121) notes that a culture of freedom increases employee creativity. gaga (1997, p. 325) also notes that many organizations today are becoming less formal in order to be flexible and responsive to a ever-changing global environment. In the case of Cirque Du Soleil, the structure has always been informal and this allows it to encourage creativity and be to a greater e xtent flexible and capable of miscellany. whiz of the key environmental challenges is related to the artists and performers. It has been noted that the artists and performers are central to Cirque Du Soleils product. This makes ensuring the good transaction of the artists a key concern. in that location are several(prenominal) factors that are risks for the company. The first is that the artists whitethorn rebel against the company. The case study notes that this keepred in 1987 and 1988, when many performers rebelled over concerns that management was not doing what was best for them and that the company was not operating based on the original spirit of the group. As the company expands furthers, it seems reasonable that the performers may again feel that the company is not operating in the same spirit as before. This is especially likely to occur as the company becomes more focused on finances.This may proceed to either artist rebellion again or to artists leaving the show. an other(prenominal) worry related to performers is the high injury rate. The case study notes that 37 injuries were listed for 57 artists three-quarters of the way into the United States tour of the show Dralion. This shows an ongoing problem that has the potential to reduce the quality of the show produced. Finally, the work of the performer is petitioning, with the case study noting that many performers leave because they cannot handle the touring life. These problems related to the performers are small ones for two reasons.Firstly, the performers are the basis of the companys product. Secondly, finding, hiring, and training employees is a considerable expense. This makes it all-important(a) that Cirque Du Soleil find a way to manage employees effectively, while promoting their creativity. Another challenge that faces Cirque Du Soleil is based on one of its key success factors, which is its business leader to offer a new and unique show that impresses the audience. There are tw o main reasons that this ability to astonish an audience may be lost. One of them is seen in the gravel of the conductor at Cirque Du Soleil, Oberacker.Oberacker notes in the case study that he is not as super impressed with the show as the audience is. He links this to his experience on Broadway and notes that he has seen more astonishing things. He also notes that the shows ability to impress is not based entirely on the artists, but on how it is presented with lights, costumes, and music all adding a larger star of awe. There are two potential problems that this indicates. The first is that other companies may realize the success factors of Cirque Du Soleil and become direct competitors.Currently, theater companies, drama companies, Broadway shows, and operas are competitors in the entertainment market. However, they target a high social class and go not to be accessible to the general public. Cirque Du Soleil is offering a similar product, but it is targeted to a more genera l audience. This leaves the possibility that the competitors mentioned to a higher place will adjust their marketing strategy and become direct competitors of Cirque Du Soleil. One source notes that this is a significant problem for companies that are based on one specific product (Kotler, Arm real, Brown, & Chandler, 1998).This is true for Cirque Du Soleil since nonetheless though they have diversified into new areas, their basic product is the feat they offer. If other companies start to compete with similar shows, Cirque Du Soleil will draw back a significant part of their market. The other problem is that audiences may become used to the show and its elements. If this occurred, the show would not create the same sense of astonishment in an audience. This is also related to the perception of the product. Perreault and McCarthy (2000) note that a products success is not based on the product itself, but on how well it meets or exceed expectations.For the astonishment factor to be achieved, Cirque Du Soleil need to exceed the expectations of customers. With the excellence and quality of the show is generally recognized, this leads to increase customer expectations. The end result is that Cirque Du Soleil has to constantly improve to ride out impressive. To remain successful, Cirque Du Soleil has to manage creativity and continue to innovate. One change that may be required is to take the emphasis off the murder requirements of the show. The case study notes that the number of shows has increased.The question this raises is how Cirque Du Soleil can continue to create new shows that will have the astonishment factor. It is suggested that this could be achieved more successfully if the company limited the number of shows produced. This would create a demand for the product. This strategy takes into account that the success of Cirque Du Soleil relies largely on its image, where the show is recognized as something astonishing and unforgettable. If this qualit y is lost, the entire company will be at risk. This suggests that limiting the amount of productions would be effective.It would allow artists and performers to centralize their creativity on creating one show of the highest quality. This strategy would also be an effective way of managing performance staff. Performance staff would be intemperately involved in development and be the creative force for the new shows. With a significant amount of time available for development, performers could innovate, experiment, and develop new ideas. At the same time, their energy would be better directed into the shows because the demands would not be as high.Revenue could then be increased for Cirque Du Soleil by focusing more on merchandising and finding other ways to increase income. This focus is based on recognizing that Cirque Du Soleils composition makes it a brand, where a brands value is not just based on a product or service, but based on a perception about the company overall (Reyno lds, 2004). Cirque Du Soleil has a strong brand and could diversify by increasing the number of ways that additions are made to the brand. This would allow the company to continue to grow, but in a way that does not place additional demands on the basic performance product.