Introduction
An event is notable if it occurs once or repeatedly within a short period of time and leaves a lasting impact. This occasion could include festivities or performances, speeches, and ceremonies. The majority of events are arranged to commemorate cultural, political, or cooperative goals.
Recent years have witnessed substantial expansion in the event packaging business. The government's attention has been brought to the significance of this industry to the economies of various nations as a result of its expansion. The development of events supported by state governments has prompted the establishment of units. The purpose of which is to connect the success of tourism to the outcomes of these events. According to a number of academics, the success of an event has a good association, first with the visiting tourist and then as a method of conducting business. Providing quality beverage and food services, as well as the perception of authenticity, are agreed-upon factors that influence the happiness of event attendees.
In today's service-driven economy, corporations bundle their goods and services with an experience in order to increase sales. To reap the full benefits of experience staging, firms must embrace a fee-commanding, experience-engaging design. The transformation of promoting or selling an experience has not been simple for established businesses to execute.
The progression of economic history can be retraced through the many evolutionary stages experienced by birthday cakes. As proof of the agrarian economy, women baked birthday cakes from the very beginning. Combining farm products, such as sugar, butter, eggs, and flour. All of these together are inexpensive or free. At Betty Croker, women spent a dollar or more for pre-mixed components as the economy of the industrial period developed. At the beginning of this service-based economy, busy parents ordered cakes from bakery shops that, if purchased for $15 or $20, would have cost significantly more than the packed ingredients. In the 1990s, parents did not celebrate birthdays with cakes or celebrations. Instead, substantial sums were spent to completely outsource an event. From exploration zone to Chuck E. Cheeses, other event-promoting companies were noteworthy for children. Recently, free cakes have become the norm at festivals. Thus, this is the beginning of an economy of experience. Despite the fact that economists have grouped services and experience together, experience is a distinct economic gift that is distinct from services and goods. This economic gift is acknowledged and articulated today since experience is indisputably what people want, and more businesses are planning and implementing accordingly. From now on, leading firms will learn that experience staging is the new competitive frontier.
Literature Review
design and execution of services
There is a line of distinction between experience and service; to comprehend this divide, recollect an episode of the old television show Taxi. In it, Iggy, a poor and hilarious driver, decided to become the greatest taxi driver this planet has ever seen. He offered beverages and sandwiches to his passengers while providing city excursions. Frequently, he sung Frank Sinatra songs. He transformed an average taxi ride into an unforgettable experience that his clients will never forget. Iggy presented an altogether new economic contribution. The experience of riding in Iggy's taxi was significantly more important to his passengers than the service of being driven around the city. The response was that his consumers paid him more money. One of his customers had to pay far more than the statutory sum since poor service prolonged his experience. Iggy supplied services – taxi driving – as a front for selling an experience, which was in fact what he was doing. If businesses use their services as a stage and their products as props to engage with clients on an individual level, they will create a memorable experience. Thus, commodities are said to be fungible, while goods are said to be tangible, services are said to be intangible, and experiences are said to be memorable. Following Walt Disney, the pioneer of the experience economy, we will refer to experience purchasers as guests. This customer prefers to value firms' revelations over time. While pecuniary contributions, such as services and presents, are secondary to the guest. Experiences are personal, dwelling in the mind of an individual, including emotional, intellectual, and bodily components. Thus, the experiences of two individuals will always be distinct. This is because an experience consists of the fundamental interactions between an individual's mental state and the stage show. Walt Disney and his enterprises have cleverly utilized the concept that experience is the essence of show business. Today, marketing experience is valued in industries far from parks and theaters. The development of innovative technologies has altered the nature of experience. From online chat rooms to interactive video games, new types of entertainment have emerged. According to new schools of thought, business is more than the manufacture and sale of new things; it also involves information distribution and interactive life connection experiences.
At Planet Hollywood and Hard Rock Café, food serves as a prop for the entertainment that is the primary focus. Cabalas', Nike town, attracts clients by presenting them with amusing activities and attractive displays. Often commonly termed entertailing. However, experiences cannot be considered solely entertaining. Businesses stage experiences when they want to engage customers in a personal way that will be remembered for eternity. Sir Collin Marshal, the former chairman of British Airways, remarked that in the field of business travel, the commodity mentality is the belief that a business is only executing a function — in our instance, carrying people from point A to point B on time and at the lowest possible price. The airways compete with others on the level of offering an experience, going above and beyond just functionality. Experiences are not limited to companies that manufacture consumer items.
The attributes of experiences
Before collecting an admittance fee, a business must plan and implement an experience that customers deem to be worth the cost. Experiences, like goods or services, will require a flawless plan from conception through marketing and delivery. Inventiveness and uniqueness will always precede income growth. Experiences, like goods and services, include unique characteristics and face significant design challenges. One method to consider experiences is from a two-dimensional perspective.
Participation of the visitor
At one end of the spectrum is inactive involvement, in which customers have no effect on performance. Attendees of symphonies are a fantastic illustration of this type of participant. During an event, they gain experience by observing and listening. On the opposite end are active players. Here, clients contribute to the formation of the experience. Skiers are a fantastic illustration of this type of participation. Even ski race spectators cannot be considered as passive participants. By participating in the ski race, they contribute to the visual experience of people at the event.
The affiliation of the visitor
This is often referred to as the customer's or guest's ability to interact effectively with the environment. Connection unites the client or attendee with the event's performance. At one angle of connection range, absorption occurs, but at the other, immersion occurs. Guests seated in the grandstand and seeing the Kentucky Derby tend to focus on the action occurring beneath and in front of them. While those infield are immersed in the noises, sights, and smells of their surroundings. In physics class, frantically scribbling notes on a notepad can be far more engaging than reading a book. However, seeing a film in a theater with others, stereophonic sound, and a large screen is more immersive than watching the same film on a home video player.
The classification of experiences
Attending a live performance or watching television are examples of entertainment experiences in which the involvement or participation of consumers or guests is more passive than active. In this instance, the connection at the event is one of absorption rather than immersion. Educational events, such as taking a ski lesson or attending a class, engage people actively. However, students are typically more detached from the event than absorbed in it. Escapist experiences can educate in the same manner that educational ones do, or they can be funny as entertainment, but with a greater client immersion. Participating in an orchestra or acting in a play involves active and immersive experiential participation. Active guest participation must be lowered for an escapist experience to become ecstatic, the fourth type of experience. Here, visitors are immersed in the atmosphere, yet they have no effect, such as a gallery visitor. All experiences of depth, such as a trip to Disney World, embrace all dimensions of experience. The most essential question for those in positions of authority to ask themselves is, "How unique and distinct is the experience my company provides?" The quality of the experience provided will significantly impact the business of the firm. Experience must meet the customer's demand or expectation, just as goods or services do. Experiences are the product of a process of examination, scripting, and execution, whereas services are the outcome of a process of examination, blueprint construction, and enhancements.
Creating an exceptional experience
It is anticipated that developing experiences will become a business in the future, similar to product and process design. Design principles are undeniably evident from the actions and outcomes of organizations already in the industry. Below are the experience design principles.
The experience must have a theme
When one hears the names of entertainment-oriented restaurants, he or she forms an impression of what to expect from such an establishment. For instance, the rain forest café and the Hard Rock café, to name a couple. The first and most crucial step that owners must take when attempting experience staging is to create a memorable theme. A badly sculpted topic prevents prospective customers from imagining what to anticipate. And the memories from such locations are frequently fleeting. Such is the case with Gertrude Stein's Oakland. The guidelines are frequently violated by retailers. The motif created does not correspond with the retail experience that is to be performed, despite the fact that they trumpet the shopping experience. When it comes to theme creation, home appliance stores are especially lacking in originality. Considering that a Las Vegas-based mall features the notion of a "ancient Roman marketplace," this motif has been realized in every way through architectural elements. These features include pristine white columns, marble floors, an outdoor café, running fountains, living trees, and completion during a thunderstorm.
Impression complemented with positive cues
While the topic lays the groundwork, it is of utmost importance that the experience leave an unforgettable mark on the audience. The impression is what a guest takes away from an encounter, signifying that the theme has been accomplished. Companies must introduce clues that confirm the nature of the experience to the client or guest in order to establish the desired impression. Each cue must provide support for the theme. Harob George, the creator of a Washington, D.C.-based coffee business, conceived the company's mission statement (the marriage of Old world Italian espresso bars with fast paced American living). Customers are able to create queues without the need for signage, which would have deviated from the theme's objective, due to the interior design's representation of the ancient world. There is a feeling of quick service in a pleasant environment. Additionally, the franchise owner encourages his employees to recall the faces of regular customers in order to serve them without prompting. The cue, regardless of its size, contributes to the creation of a memorable experience. When a restaurant host informs you that your table is ready, he or she has given you no indication. However, the proclamation by a Rainforest Café host to her visitor to be on the lookout for an upcoming adventure tends to generate the impression of a unique encounter. Cues produce impressions, and impressions generate client experiences that are memorable. An unpleasant experience could be the result of an undervalued, ignored, or disorganized architectural feature. A customer may be left perplexed if an unintended visual signal is applied. After receiving information on the direction, it may be difficult to locate one's hotel room. The client's experience would be enhanced by clearer and more comprehensible indications on the walkway.
Remove unmotivated cues
Positive indicators alone are insufficient to preserve the authenticity of the guest or client experience. Everything that conflicts with the concept must be eliminated. Experienced stagers must adhere to this rule tenaciously. In offices, shopping malls, and airplanes, trivial massages are common. Despite the fact that customers occasionally require guidance, service providers frequently employ improper massage forms. For example, trash cans at fast food restaurants may feature a "thank you" sign. Instead, stagers of experience may transform the trash can into a talking, garbage-eating character that expresses gratitude when the lid is opened. A good massage is conveyed to the customer without any negative cues. The simplest way to transform a service into an experience is to deliver subpar services. This creates an interaction that is memorable, but of a negative one. Excessive service can ruin an experience.
The five senses must be stimulated.
The sensory stimuli accompanying an encounter must advance its topic. The more senses involved in an encounter, the more unforgettable that experience will be. Smart operators of shoeshine shops enhance the aroma of polish using fragile material fragments. Aroma and sounds that do not contribute to the shoe but improve the whole experience. During the blending of produce, grocery stores, channel bakeries, and others employ sound and light to resemble a thunderstorm. The Cloud Forest