Cirque Du Soleil Case AnalysisJamie WrightCirque du Soleil B321[pic 1][pic 2]Case AnalysisIntroduction-Cirque du Soleil is known for its breathtaking shows that combine mind-boggling physicality with signature artistry. They are beautiful, mystifying and, awe-inspiring to behold. From the humble beginnings as street performers in the early 1980’s to a multi-billion company of today, Cirque du Soleil has become a leader in innovation by emphasizing the highest level of creativity and brand value for a non-traditional circus. Along with Cirque’s success came growing pains. For Guy Laliberte and Gauthier, having artistic and commercial independence was vital. How could they diversify and keep the integrity of their business, manage employees, collect the right talent and retain them, and while expanding into so many areas protect the culture of their company? Problem Analysis-1. Artistic and Commercial independence – Cirque’s success attracted many producers “who wanted to put their hands on the creative enterprise” as well as many companies “wanting to partner with or buy out Cirque du Soleil” (Cirque du Soleil Case). Cirque needed to determine whether it was willing to make a substantial profit by doing this. In the end they were “determined to keep their artistic and commercial independence, both vowed to always remain a privately held organization and to choose their future business partners wisely and parsimoniously” (Cirque du Soleil Case). This decision was a smart move and has kept the Cirque du Soleil unblemished by Hollywood and prima donna actors.
2. Exclusivity strategy – Cirque du Soleil would not duplicate its productions. “We’ve been approached by corporations around the world who would like us to do copies but we always say, ‘No. If you want to see “O”, you have to go to Las Vegas. Clowns, yes. Clones, no” (Cirque du Soleil Case). Instead of having several similar shows around the country, they chose a strategy of exclusivity. 3. Creative Process – The rapid growth strategy and multiple productions had left the Cirque du Soleil organization exhausted. This caused many of its creators to leave the company and start a new production company. “Laliberte made sure that the heart of Cirque’s creative process was its organization, not a particular group of people”(Cirque du Soleil Case). This enabled Cirque to formalize certain aspects of their creative processes and “made sure that the heart of Cirque’s creative process was its organization, not a particular group of people” (Cirque du Soleil Case).
2. Creative Process as Plan The Cirque du Soleil team was also working on a plan to develop new show ideas and continue collaborations and create better content. The same principle is the crux of the Cirque du Soleil plan: Create and produce new shows that are of interest to both the audience and themselves, using the creative process to reach the audience and create better content. If you cannot find what viewers like then ask the people who like them and that it’s because that’s not their thing to say.
3. Creative Process as A Strategy —As we mentioned above, the concept of Creative Process and the concept of creativity are not mutually exclusive. The Cirque du Soleil is not only working a creative process to create new shows but also to deliver good content to the audience. We are only talking about the creative process. For better or worse, the most important concept of Creativity has to do with it, and is not about what will be “different” or “new”. This is where you have to get creative and it starts off. Creativity is about creating things with what you have and not what others have. Cirque du Soleil will be working on new shows starting to be well received by viewers because it’s something we will want to keep for years to come.
4. Creativity of Creativity– I am looking forward to seeing both shows come back and return in a bigger and better format, at least on one side—and when that happens I think we should give ourselves pause and think about whether we’re in a situation where we really want to be and are better on the other side. In this case I really don’t want to be too long into the process. Maybe I’m just not sure what my life is as a creative person and should start building a new set of constraints and constraints, but I do want to see what is next (a future).
5. Creativity of Creativity as Marketing – I will never know why and can never really make up for my lack of experience (and time) in marketing (Cirque du Soleil Case). If Cirque du Soleil was a “real” marketing organization or not and marketing was their real business strategy then we would have to see what they needed to do. They needed to show their audience people who are really passionate about it, that they really value that show because (1) they are passionate creators of shows and (2) they have strong financial support. But I am not sure I understand how the creative process is different from Marketing: We are trying to get something that people really do that we can sell. If Cirque du Soleil were a social media company then we have no doubt we would have strong financial support from the social media industry. Or at least we feel it is. But what I do know is that there are people who don’t know anything about marketing. One of the big reasons why I don’t seem to know any marketing skills is because I never went as far a social media marketing organization. There is nothing that was done before or after Cirque du Soleil started marketing. This means I never actually met any creative people. And I don’t want to look into that. Most people wouldn’t know any marketing people. I have a team of creative people. They all were going through different experiences. One was being a