The Impact of Information Discrepancy on Users’ Selection of

Theatre Art Programs Through Social Media

Yulin Li

School of Humanities and Communication & School of Network Communication, Guangdong University of Finance &

Economics, 510320 Guangzhou Guangdong, China

Keywords: Social Media, Drama, Marketing.

Abstract: Social media has become an essential tool for modern theatre promotion and audience interaction. Through

these platforms, theatres can engage with their audiences in a more direct and vivid manner, particularly

attracting younger demographics. This not only provides a space for showcasing productions but also offers

a new platform for brand building. By analyzing audience data and behavior, theatres can make more precise

adjustments to their promotional strategies. Based on the context of China’s rapidly growing theatre industry

and the emergence of outstanding original productions, this paper explores the relationship between social

media information and the selection of theatre art programs. Utilizing survey methods and the collection of

social media data, a correlation analysis was conducted, and the texts were analyzed using ROSTCM6

software. The study finds that video platforms are more effective at attracting emotionally driven viewers,

while image-text platforms are better suited to engage more rational, decision-making audiences. User-

generated content primarily influences emotional-driven audience choices and social circle selection, whereas

official content plays a more significant role in rational decision-making and professional recognition.

1 INTRODUCTION

In recent years, the performance market in China has

experienced positive growth. In 2023, the national

market reached a total value of 73.994 billion RMB,

with an unprecedented growth rate of 29.30%. By

June 2024, the scale of the performance market had

nearly reached the total level of 2023, demonstrating

strong development momentum. A wealth of

excellent original theatrical works continues to

emerge, and an increasing number of young

audiences are actively attending theaters, contributing

to the growing audience base. Not only have young

people become the primary consumers of theater, but

audiences from other demographic groups, such as

children and middle-aged individuals, are also

gradually rising in importance.

According to the "2024-2028 China Theater

Industry Market Panorama Research and

Development Forecast Report," the development of

theaters is expected to remain strong in terms of the

number of performances, box office revenue, and

audience attendance. However, China's performing

arts industry is still in its early stages and has a

significant gap compared to regions with more mature

theater markets, such as North America, where the

market size reached $24 billion in 2022. This

indicates a potential for market expansion through

marketing strategies to enhance influence and

broaden audience reach. Additionally, new

performance modes such as immersive and mobile

performances are emerging, aligning with the current

trend of all-media content proliferation. Therefore,

theaters must integrate various types of social media

to target different forms of works, engage in specific

promotional campaigns based on audience interests,

identify audience pain points, and create content that

can quickly garner audience feedback.

This study will employ a survey method to gather

the authentic reactions of social media users to the

promotion of artistic programs. It aims to provide an

initial understanding of users' interests and

preferences, while also performing word frequency

and sentiment analysis on social media comments to

ensure the comprehensiveness and authenticity of the

data sources. The study will focus on identifying how

users engage with different types of social media

content across various platforms, taking into account

the nature of the content and the type of medium.

738

Li, Y.

The Impact of Information Discrepancy on Users’ Selection of Theatre Art Programs Through Social Media.

DOI: 10.5220/0014279700004942

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd International Conference on Applied Psychology and Marketing Management (APMM 2025), pages 738-745

ISBN: 978-989-758-791-7

2 LITERATURE REVIEW

The concept of "marketing" was expanded in a 1969

article by Kotler and Levy, in which they argued that

marketing is not solely about promoting the sale of

goods, but also about sensitively serving human

needs (Kotler & Levy, 1969). The article addresses

the challenges faced by cultural organizations in

marketing, particularly in devising marketing policies

during special periods to leverage national funding

for cultural promotion. However, drama, being an

aesthetic product with ideological characteristics and

no physical form, presents unique challenges.

Hirschman (1983) discussed the limitations of

traditional marketing strategies for cultural products

(Hirschman, 1983). Since each product is unique,

marketing strategies based on "similar" or

"isomorphic" factors are not suitable for this field.

Macdonald also argued that the best form of

marketing is the word-of-mouth reputation of the

work itself, suggesting that innovative marketing

strategies should be introduced to theaters

(MacDonald).

In the post-Internet era of the 21st century,

theaters have transitioned from using traditional

media such as newspapers to digital and visual

content on the web for promoting theatrical works.

This shift in media platforms has both advantages and

disadvantages. Besana and other researchers applied

the theory of attention economics to argue that the

Internet enables theaters to reach a wider pool of

potential consumers, though they also highlighted the

challenge of capturing users' attention (Besana et al.,

2018). By using cluster analysis, they confirmed that

theaters active on social networks are able to increase

audience engagement. As a result, advertising

spending on social media has become an essential

strategy. Warne and colleagues compared the

authority and persuasive power of theater reviews

published in newspapers and blogs, showing that

works with higher visibility, such as the musical Les

Misérables, are more likely to encourage ticket sales

via social media. However, the generalizability of

their findings is limited due to the use of virtual social

media accounts and a small sample size (Warne &

Deake-Brooks, 2016).

Regarding the influence of social media content

on audience decision-making, Baldin and others

examined content and reviews posted by the Royal

Danish Theatre on Facebook using a VAR model.

Their study found that the number of likes had the

greatest impact on purchase decisions, reducing users'

time spent browsing information, and exhibiting a

snowball effect (Baldin et al., 2024). However, their

research was limited to official content, and this study

will expand the investigation to include user-

generated content (UGC). The role of social media in

the promotion of theatrical works by theaters has

grown increasingly significant, with certain common

trends emerging across different regions.

Pontelandolfo and colleagues analyzed the strategies

used by the official Instagram, Twitter, and TikTok

accounts for Hamilton in the Broadway district. They

affirmed that social media plays a crucial role in

attracting younger audiences, especially for

productions with high attendance rates.

In the post-Internet era of the 21st century,

theaters have transitioned from using traditional

media such as newspapers to digital and visual

content on the web for promoting theatrical works.

This shift in media platforms has both advantages and

disadvantages. Besana and other researchers applied

the theory of attention economics to argue that the

Internet enables theaters to reach a wider pool of

potential consumers, though they also highlighted the

challenge of capturing users' attention (Besana et al.,

2018). By using cluster analysis, they confirmed that

theaters active on social networks are able to increase

audience engagement. As a result, advertising

spending on social media has become an essential

strategy. Warne and colleagues compared the

authority and persuasive power of theater reviews

published in newspapers and blogs, showing that

works with higher visibility, such as the musical Les

Misérables, are more likely to encourage ticket sales

via social media. However, the generalizability of

their findings is limited due to the use of virtual social

media accounts and a small sample size (Warne &

Deake-Brooks, 2016).

Regarding the influence of social media content

on audience decision-making, Baldinetal used

methods such as the VAR model to study content

reviews posted by the Royal Danish Theatre on

Facebook. They found that the number of likes had

the greatest impact on purchase decisions, reducing

users' time spent browsing information and exhibiting

a snowball effect (Baldin et al., 2024). However, their

researches were limited to official content. This study

will expand the discussion to include user-generated

content (UGC). The role of social media in promoting

theatrical works by theaters has grown significantly,

and certain common patterns have emerged across

different regions. Pontelandolfoetal analyzed the

strategies employed by the official social media

accounts of Hamilton in the Broadway district on

platforms such as Instagram, Twitter, and TikTok.

They confirmed that social media plays a crucial role

in generating interest and enthusiasm among younger

The Impact of Information Discrepancy on Users’ Selection of Theatre Art Programs Through Social Media

739

audiences, particularly for high-attendance and high-

engagement art forms such as theater (Pontelandolfo,

2022). Similarly, the In the Heights production team

established a fan community on YouTube, resulting

in a box office revenue of $93 million (Craft, 2011).

The National Centre for the Performing Arts in

China has explored various methods of integrating

online and offline platforms through its classical

music programs. Zhang Jialin cited opinions from

international media, describing the program as a new

exploration and approach to expanding artistic

influence in the era of new media (Zhang, 2023). Yao

Jinfen and Ma Shuzhi provided an empirical

summary of the current operational status of

traditional theaters and small theaters (Yao, 2018; Ma,

2020). In China, research on the impact of social

media content on theatrical arts programs remains

limited, with a lack of valuable data to support such

studies. This paper will explore, from a Chinese

perspective, the potential for local theater to spread

through social networks.

Based on the existing research, this paper

proposes two research questions: (1) The differences

in the presentation of theatrical arts program

information across different social media platforms,

and how various media (text, images, video) and

content formats, along with interactive features,

influence users' reception and attitudes toward

theatrical arts program information. The study will

explore the differences in content presentation

strategies and audience engagement across platforms,

assessing the appeal of the content and its impact on

user decision-making. (2) The differences between

user-generated content (UGC) and official-generated

content (OGC) in influencing users' choices of

theatrical arts programs. This research will define the

distinction between the two types of content, conduct

sentiment analysis, and examine the advantages and

limitations of each, as well as their interactive effects

on social media platforms.

3 RESEARCH METHODS

The primary research method employed in this study

is the questionnaire survey, supplemented by social

media data collection.

3.1 Questionnaire Design

As the research focuses on the differences in user

feedback, the questionnaire survey method is suitable

for quantifying the relationship between social media

content and theater program selection. It allows for

the collection of a large data sample in a short period,

making it well-suited for large-scale target

populations. This method provides clear,

multidimensional data on user behavior, attitudes,

and other relevant factors. Additionally, it enables a

comparison of differences in theater arts program

viewing across users of different platforms.

Standardized questions will be used to minimize data

bias, and a variety of analytical methods will be

employed flexibly to analyze the data.

During the distribution of the survey, careful

consideration was given to the diversity of the

respondents' sources and the size of the theater

audience, while ensuring data validity. The survey

was distributed simultaneously on public social

platforms (Weibo, Xiaohongshu, Bilibili) and within

community groups (WeChat groups, Douban groups)

where theater enthusiasts gather.

In terms of the questionnaire design, respondents

were asked about the frequency and experiences of

viewing promotional content in text-image and video

formats, exploring the impact on their willingness to

choose and make purchase decisions. The survey also

assessed their trust in and personal reference to UGC

(user-generated content) and OGC (official-generated

content) accounts, analyzing the differences in

promotional effectiveness between the two types of

content creators. A total of 254 responses were

collected, all of which were valid. The geographic

range covered 29 provinces and autonomous regions,

with a focus on the southeastern coastal areas,

ensuring a geographically representative sample.

Over 70% of the respondents had watched at least one

theater arts program, with a gender ratio of

approximately 1:2, and the majority of the

respondents were between the ages of 18 and 45. This

demographic distribution aligns with the audience

profile and traditional theater distribution analysis

presented in the 2024 China Musical Theater Market

Annual Report, confirming the validity of the sample.

The collected survey data were analyzed using

frequency and correlation analysis on the SPSS

platform. Regarding social media platform usage,

45.2% of respondents selected text-image and video

integrated platforms as their primary choice, followed

by 29.2% who preferred short video platforms. Long

video platforms accounted for 23.8%, while the

remaining respondents primarily used WeChat

official accounts.

APMM 2025 - International Conference on Applied Psychology and Marketing Management

740

Table 1: Correlation analysis of social media platform types and viewing of theatre arts programs

drama musical

dance

drama

concert

Others

(please list)

Graphic platforms

(Weibo, Zhihu,

Douban, Twitter,

etc.)

Pearson

correlation

0.209** -0.025 0.129 -0.073 0.035

Significance

(double tail)

0.007 0.754 0.101 0.35 0.652

Number

ofcases

164 164 164 164 164

Graphic and video

platforms

(Xiaohongshu,

Instagram,

Snapchat, etc.)

Pearson

correlation

-0.016 0.063 .168* -0.064 -0.105

Significance

(double tail)

0.844 0.425 0.032 0.417 0.181

Number

ofcases

164 164 164 164 164

Short video

platforms

(Kuaishou, Tiktok)

Pearson

correlation

-0.07 -0.053 -.153* 0.088 -0.01

Significance

(double tail)

0.37 0.501 0.05 0.262 0.903

Number

ofcases

164 164 164 164 164

Long video

platforms

(bilibili, iQiyi,

Youtube, etc.

)

Pearson

correlation

-0.111 0.012 -0.111 0.082 0.008

Significance

(double tail)

0.156 0.881 0.159 0.294 0.919

Number

ofcases

164 164 164 164 164

According to Table 1, there is no statistically

significant correlation between the types of musical

theatre, concerts, and social media platform usage.

However, within the category of drama viewing, a

significant correlation is observed at the 0.01 level,

with theatre audiences who have watched at least one

drama performance being more likely to use text-and-

image platforms. Ballet audiences, on the other hand,

tend to use text-and-image video platforms more

frequently, while less often opting for short video

platforms.

Social media users with a habit of using long-

video platforms have the most extensive theatre

viewing experience. Among them, 78.4% of users

who primarily use long-video platforms have

watched at least one theatre performance, followed by

74% of users on text-and-image video platforms.

Analyzing the correlation between nine categories of

social media content and theatre viewing experience

reveals that the more content related to entertainment

celebrities users browse, the greater the likelihood of

watching theatre performances. When breaking down

theatre programs into five categories, a significant

correlation is observed at the 0.01 level between

concert program viewing and content browsing.

Concert audiences are more likely to browse

educational and scientific content videos, while

showing less interest in entertainment celebrity news

or film montages. Based on eight adjectives with

distinct meanings used to describe the characteristics

of social media platforms, an evaluation of the

relationship between users' perception of platform

features and their likelihood of watching theatre

performances shows that musical theatre audiences

tend to prefer content-oriented platforms focused on

entertainment, while showing less interest in

authoritative, educational platforms. Ballet

audiences, in contrast, exhibit a preference for

The Impact of Information Discrepancy on Users’ Selection of Theatre Art Programs Through Social Media

741

platforms with a fashionable style. Meanwhile,

concert audiences are less likely to describe their

platforms as "entertainment" oriented. Theatre

companies, in their promotional efforts, can tailor

their content to the expected platform style

preferences of different audiences to better align with

their audience's characteristics.

There are differences in the influence of text-and-

image content versus video content on the audience's

selection of theatre performances, but the gap is only

between 5% and 10%. Among users who have

browsed theatre promotional content on social media,

64% most often watch videos, while 33% more

frequently view text-and-image content. The impact

of promotional content on theatre decision-making is

divided into four dimensions: 1) providing a

preliminary understanding of the performance, 2)

sharing the information with others, 3) continuing to

search for additional content, and 4) generating a

desire to purchase tickets. Text-and-image

promotional content is more suitable for the initial

phase of promotion, helping the audience move from

unfamiliarity to awareness. A total of 151 survey

respondents indicated that text-and-image content

sparked a desire to learn more about the performance.

On the other hand, video content, especially longer

videos and short videos, has a stronger social sharing

appeal. Forty-three respondents reported that they

were motivated to purchase tickets after viewing

video content, highlighting its effectiveness in driving

ticket sales.

In terms of information acquisition channels, the

top three sources for obtaining official content are the

theatre's official website, WeChat official accounts,

and Xiaohongshu accounts. For user-generated

content, the top three sources are WeChat official

accounts, Xiaohongshu, and Douyin accounts, which

collectively account for over 75% of the responses.

This indicates that the theatre's promotional efforts

and strategies on these platforms are well-established

and effective.Regarding trustworthiness, respondents

were asked to rate the importance of user-generated

content and official content in their decision-making

process, on a scale from 5 (extremely important) to 1

(not important at all). The results are as follows: The

average score for official content was 3.39, with a

median of 3 and a variance of 1.092, suggesting that

official content, such as theatre programs and cast

information, does influence the decision to purchase

tickets. In contrast, the average score for user-

generated content was 3.72, with a median of 4 and a

variance of 0.098. This indicates that users have a

higher and more stable level of trust in user-generated

content, such as audience reviews and

experiences.When it comes to ticket purchasing, there

is a notable difference in influence between official

and user-generated content. User-generated content,

such as recommendations from friends and social

media comments, is the most trusted source, with

35.32% of respondents indicating it as their preferred

source of information. The second most trusted

category, with 32.77%, includes both user-generated

and official content. Trust in official content alone is

relatively low, at 24.68%. Additionally, 7.23% of

respondents expressed distrust in all sources of

content.

3.2 Social Media Data Collection

This study collects content published by official

theatre accounts and fan-driven marketing accounts

or theatre enthusiast KOLs (Key Opinion Leaders)

across various social media platforms for frequency

and sentiment analysis. The goal is to quantify the

differences in positive and negative emotional

impacts of content from different types of accounts

and analyze content variations for the same theatre

performance across different social media platforms.

As social media content is dynamic and continually

evolving, this data category captures changes in

sentiment and topics during information

dissemination, allowing for analysis of how these

changes influence user decision-making.

On the text-and-image platform Xiaohongshu,

representative individuals from both official and non-

official social media account camps were selected,

with promotional content being controlled for

consistency. The official "Beijing Tianqiao Arts

Center" account, with 23,000 followers, ranks in the

median range among major national theatres and is on

par with regional representatives such as the Shanghai

Cultural Square and the Guangzhou Grand Theatre.

The "Jingluo" account, focused on in-depth theatre

audiences in Guangdong, has accumulated

approximately 20,000 likes for its posts. For this

study, similar content regarding the ticket release for

the musical The Phantom of the Opera was selected

from both accounts. The official account received 109

comments, while the non-official account garnered

367 comments. After general data processing, the

ROSTCM text analysis tool was used to conduct

sentiment analysis and generate word cloud

summaries for the collected content. This analysis

will help to identify emotional trends and key topics

related to the musical across different account types

(Table 2 and Table 3).

APMM 2025 - International Conference on Applied Psychology and Marketing Management

742

Figure 1: UGC and OGC Content Comment Word Cloud (Photo Created: Original).

Table 2. Correlation analysis of social media platform types and viewing of theatre arts programs.

Emotional type Sample size proportion Emotional level Number proportion

Positive 40 36.7

Normal（0—10）

32 29.36

Medium（10—20）

6 5.5

Height（20—） 2 1.83

Neutral 52 47.71

Negative 17 15.6

Normal（-10—0）

17 15.6

All 109 100

Table 3. Sentiment analysis of OGC content comments.

Emotional type Sample size proportion Emotional level Number proportion

Positive 119 32.43

Normal（0—10）

92 25.07

Medium（10—20） 20 5.45

Height（20—） 7 1.91

Neutral 216 58.86

Negative 32 8.72 Normal（-10—0） 29 7.9

Medium（-20—-10） 3 0.82

All 367 100

As shown in Figure 1, keywords such as "Ahhhh,

go on sale, ticket" appear frequently in the comment

sections of both official and non-official accounts. On

the official account, the focus is more on the

differences in ticketing policies after the release, such

as those related to different websites (e.g., WeChat

Official Accounts and Damai ticketing platform) and

user identities (e.g., regular users vs. different

membership levels). In contrast, comments under the

non-official account express more surprise and

The Impact of Information Discrepancy on Users’ Selection of Theatre Art Programs Through Social Media

743

anticipation surrounding the ticket release itself.In the

sentiment analysis, neutral emotions make up the

largest proportion of the responses. However, the

official account exhibits 8% more positive sentiment

than the non-official account, while negative

sentiment is 7% higher on the non-official account.

This suggests that the content on the official account

tends to evoke a stronger emotional response in the

audience, with more expressions of excitement and

surprise. Additionally, the official account seems to

attract more comments from audiences in different

regions expressing anticipation for the introduction of

the performance to their local theatres.

4 DISCUSSION

4.1 Platform Preferences

In terms of platform selection, musical theatre

audiences are more inclined towards short-video and

text-and-image video platforms that offer

entertaining and light-hearted content. These

audiences seek quick, engaging experiences and

enjoy content that is fun and accessible. Ballet

audiences, on the other hand, prefer comprehensive

platforms with a strong emphasis on creativity and

fashion, highlighting the visual and artistic aspects of

the performances. Drama audiences tend to favor

traditional text-only platforms, valuing depth and

intellectual engagement in the content. Concert

audiences are more inclined to use long-video

platforms or professional art platforms, where

cultural and knowledge-driven content takes

precedence.

4.2 Content Format Preferences

In terms of content format, text-and-image content is

more effective in attracting the audience's initial

attention and generating interest in a performance. It

helps users transition from unfamiliarity to a desire to

learn more about the performance, offering a quick

overview of the content. In contrast, video content,

with its dual impact on both visual and auditory

senses, is more adept at conveying the emotional

atmosphere, actor performances, and key moments of

a show. Due to its strong social sharing component,

video content can prompt viewers to share the

experience or take the next step of purchasing tickets.

Thus, video content is better suited to deepen the

impression and stimulate action once the audience has

already developed some level of interest in the

performance.

4.3 Trust and Influence of

User-Generated vs. Official

Content

For audiences, user-generated content (UGC), such as

recommendations from friends or social media

reviews, is trusted more, as it tends to have a stronger

emotional resonance and is more likely to influence

ticket purchasing decisions. UGC not only spreads

rapidly but also offers a more authentic and relatable

emotional connection, making it more effective in

driving engagement. On the other hand, official-

generated content (OGC) plays a crucial role in

providing authoritative, rational information about

performances and ticket purchasing, which helps

audiences make informed decisions. However, the

emotional impact and trust in OGC are relatively

lower compared to UGC. The advantage of OGC lies

in its credibility and professionalism, especially when

it comes to accurate information about performance

schedules, cast details, and ticket policies. These

aspects can evoke excitement and anticipation among

certain audiences, but they tend to be less emotionally

compelling compared to the personal, heartfelt nature

of user reviews or recommendations.

In conclusion, while both UGC and OGC

contribute to the audience's decision-making process,

UGC holds a stronger emotional influence and plays

a pivotal role in driving audience behavior,

particularly in terms of sharing experiences and

purchasing tickets. Official content, with its

authoritative and factual nature, offers a

complementary role, guiding audiences through the

logistics of attending a performance but with less

emotional appeal.

For different theater art programs, the crew

officials can make full use of social media platforms

for differentiated marketing and publicity. Musical

repertoires release highlights, celebrity interviews,

and relaxed and interesting interactive content

through short video platforms to increase

entertainment and participation. Dance drama

repertoires choose comprehensive social platforms

such as Xiaohongshu and Weibo to encourage

audiences to share their viewing experience and

promote the widespread dissemination of content.

Concert content shows more academic and artistic

discussions on long video platforms to avoid

excessive marketing of entertainment star

information. Drama audiences pay more attention to

the accuracy of content and the clarity of information.

Therefore, in the graphic content, attention should be

paid to details to convey the depth and thought of the

repertoire. Theater officials should focus on the

APMM 2025 - International Conference on Applied Psychology and Marketing Management

744

diversification and emotionalization of content,

increase interactivity and audience participation, and

enhance trust and influence. For example, through

questionnaires, voting, comment interaction, and

cooperation with some KOLs, affinity can be

enhanced.

The limitation of this article is that the number of

samples in the questionnaire survey is limited, and

most of them are from southern China, so the

universality is poor, and there may be deviations

caused by memory and social expectations in user

filling. When selecting data from social platforms, we

took into account the quantity requirement for

comment samples and selected musicals with a large

number of audiences today for analysis. Therefore,

there may be differences for other categories.

5 CONCLUSION

The results of this paper are that video content is more

likely to attract audiences to buy tickets and share

with friends, while graphic content is more suitable

for preliminary understanding and interactive

communication of art programs. Under OGC content,

since official repertoire promotion content is often the

first release, it is easier to drive the audience's

emotions, and UGC content is more suitable for

interaction and communication among audiences.

Further conclusions can be drawn: video platforms

are suitable for attracting audiences who are easily

driven by emotions, and graphic platforms are

suitable for attracting rational audiences who make

decisions about watching dramas. User-generated

content has more influence on the audience's

emotional drive and choice of social circles, while

official content affects rational decision-making and

professional cognition. It provides a refinement and

classification of audience types for future research,

and can deeply explore the psychological

characteristics, consumption behavior and platform

preferences of these audience types, providing

support for platform content production and

marketing strategies. We can continue to explore the

matching of platform and content forms, reveal the

interactive relationship between platform

characteristics, content presentation methods and user

experience, and attract specific types of audiences

through the choice of content forms.

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