Presentation Bologna Fondazione Teatro Comunale di Bologna

1. Presentation BolognaFondazioneTeatroComunaledi Bologna Passodopopasso…. . verso project management e standard By Susanne Plaehn Susanne Plaehn

2. Start Up : Durante 2012 . La durata varia e dipende dai criteri e fondi. Può essere agiustata. Risorse e condizioni necessarie: Personale specializzata e Esperta di Project Management. Materiale tecnico e IT Luogo: Il Teatro d’Opera (Il Teatro Comunale di Bologna per il progetto pilota specifico, per cogliere dati, misurare ed implementare “passo dopo passo i standard e l’uso”. I Risultato: presentazione e Elaborazione di un valido Modello base e rapporto di knowledgemanagement per sviluppare uno Standard e avviare la pratica per ottimare le risorse e per creare opportunità di innovazione.Costo complessivo del progetto indicativamente : 30.000,- euro oltre iva se dovuta. Susanne Plaehn

3. We can no longer afford to sustain the old ways when we know there are new and more efficient ways of getting the job done (Barack Obama) Progettiusodimodellidi standard piano piano Susanne Plaehn

4. Framework Susanne Plaehn

5. Marketing – Prioritized taskscreating a strategy • Roles and competences/ Ruoli e competence • Susanne Plaehn, ruolo e competenze • L’ufficio marketing – Ruoli e competenze • Il dipartimento • Il team , I dipendenti • Definizionedicosasia “Marketing” ? • Marketing: vendita, ufficiostampa , comunicazione, creativitàaltro.. • Fundraising • Disegnare un processo, decidere per unastrategia.. • Stakeholder management, cure del cliente e dell’interessante • Focus sugliobiettivipiùimportanti “tasks” dadecidereinsieme con ilSovrintendente e condivise con l’ufficiocompetente • Cosasonogliobiettivipiùimportanti per noi? Susanne Plaehn

6. Overview as an example • Esempio per ogniprogettodautilizzareneldipartimento Marketing. Da fare vederealtriprogettidialtriufficiedeventualiconnessioni. • Il motivo : visibilità e trasparenza • Example: Susanne Plaehn

7. Marketing department Susanne Plaehn

8. Stakeholder analisi struttura e strategia Guardi l’esempio alla pagina successiva Susanne Plaehn

9. Esempio Stakeholder Analisi Esempio: il progetto bookshop Susanne Plaehn

10. Benefits/ benefici e obiettivi Gli obiettivi finali (o se è parte di obiettivi a metà*) dei tuoi progetti, devono essere visibili, possibilmente ridotti a gradazione, a fine di sempre sostenere la strategia e gli obiettivi più importanti che il Sovrintendente e i dirigenti fissano. Per ottenere una visibilità e una scelta del proprio progetto e per dare al Sovrintendente gli strumenti giusti per scegliere e portare avanti un lavoro per ottenere gli obiettivi prefissati con successo, ogni progetto, per poter essere scelto, come parte fondamentale per un percorso che si dirige verso un successo comune, tramite un piano strategico, dovrà contenere: oltre ad una motivazione , i costi, i tempi anche la giusta collocamento ad una determinata strategia con indicazione dei benefici/ benefits e come si intende realizzare questi benefits.. (come spesso accade, sono componenti *(subcomponenti o parti) perché altri progetti possono ottenere successo…) Susanne Plaehn

11. Una perspettiva chiamato P,S,O The organizationalperspective • Quando si crea benefici ed obiettivi pensa in: • P = persone. People haveachievednewcompetences, attitudes and/or behavioralpatterns • S = sistemi. The deliveriesconsistsof some kindoftechnology e.g. IT • O = organizazione. The organization and the surroundings are designedthat the system and the people can functionwell Susanne Plaehn

12. Obiettivi: Più persone al Teatro Più e diversificate entrate Migliorare il Livello artistico Più servizi all’interno (bookshop,ristoro,bar, wi-fi corner ecc. ecc.) Innovazione IT interno ed esterno HRM e migliorare le condizioni OtherIdeas…ora per ottenere questi obiettivi devono essere ridotte e suddivise in parti e obiettivi più piccoli che man mano portano al risultato finale, si chiama una suddivisa gerarchia d’ obiettivi .. - noi la struttura della gerarchia d’obiettivi Lo dobbiamo costruire insieme ! Susanne Plaehn

13. Come misurare l’andamento • Balanced Score Cards /BSC per Il Teatro d’Opera. • Funziona in modo da mettere in evidenza l’influenza tra le 4 aree che sono indicative per il metodo BSC. • 1. Finanziaria • 2. Clienti/Customers • 3. Processi interni • 4. Ricerca/ learning e sviluppo/Growth Susanne Plaehn

14. Proposta di Balanced score card svullupata da Susanne Plaehn /SDU 2010 Susanne Plaehn

15. The portfolio management activities at top level can be grouped into two cycles: Portfolio Definition and Portfolio Delivery. These cycles must both be constant and active, monitored and managed due to the ever-changing environment in which the organization operates. The OGC Model conceptualize the cyclical approach.Una ‘idea Susanne Plaehn

16. L’idea in generale Susanne Plaehn

17. Come creare più visibilità del Teatro Communale perchè: commitment e conoscenza, responsabilità comune, aumentare le vendite, potenziare le entrate, educare… ecc. • Social media, Media e stampa • Piano di Comunicazione Strategico – external/esterno • Piano di comunicazione strategico , vision e valori condivisa • Interviste con : il Sovrintendente, il personale, impiegati ,masse artistiche, GM,artisti , amministrativi ecc. • Facebook • The groupsfor Teatro Communale • The abbonements, and single tickets sold on-line • The ambassadorsfor TCB: studentsgroup,schools,young Amici del Comunale • Youtube, Twitter • Webpage, tripadvisor, satisfacionadvisor, surveys • App’s in collaborationwithCinecaforiPad/iPhone • Live streaming • UBS stick/key withpartnerswho, why , when • Artisticflashmobsoutside the Theatre I Who, when, planning, control and feedbacks Susanne Plaehn

18. The best operahouse in Italy YES WE CAN Barack Obama e l’ufficio marketing del TeatroComunaledi Bologna sotto la guida del Sovrintendente Francesco Ernani Susanne Plaehn

19. The question, “why looking at project management in the organizational structure of an Opera house”, has many aspects. • One for sure is provocative and “appeal” but not less true : because “it is fun; it is beautiful – and it is stimulating”. Opera has since it first days been synonym to the highest evolution of art ; combining music, orchestra, choir, opera singers, costumes , staging and sets all in one, performed in some of the most beautiful buildings in the world and managed by a logic of esthetic and professional intuitive superintendants, sensible and efficient artistic managers and experienced practitioners a complicated and never boring jet historical , jet commercial, jet political arena, which is somehow all rooted in a learning by doing process displaying a deep tradition of routines, habits tacit knowledge and own rules to undertake the making and creation of an artistic product called “Opera”. • It sees and has during its 400 years of existence seen all sort of contextual dependencies, some of which this study will try to bring insight to. • Another reason is the professional interest in the field, because the author care and work in the business of performing arts due to developments in the public and private sector and the last process of privatization the FLS has been subject to emphasize the need of in depth knowledge of the mechanism and the process inside and outside the FLS. The FLS has seen crisis of serious harm both financially, commercial and artistic but also toward if any, its corporate image. In Parallel to the privatization process triggered by political decisions more than from a knowledge of the micro-based processes inside the FLS, there has not been a strategic plan or a precise vision from the policy makers neither has there been indications on innovative organizational changes, financial analysis or removed some of the obstacles for such a process to be guided and structured for the benefit of the entire action taken by the Ministry of Cultural Heritage “MIBAC”. • The interest to look at the levels ,value chain and organizational structures from a project management point of view, could stimulate a concrete feed back to the policy maker. • The Opera houses are part of the social context and the public sphere. It is the expression of a political will and considered a National heritage and pride. It has as been described and as will be made clear by the knowledge of the core facts below displayed all the features of the “merit goods” topic. This means in practice that the leadership and the management of the Italian FondazioneLirico-sinfoniche never before, as it is happening today (ndr. As this thesis was produced on 30 april 2010 a new law was signed by the President of the Republic and the minister of culture!) has being asked to justify their actions or highlight systemized accountability or had been underlying demands of efficiency. The governance and management of Italian FondazioniLirico-sinfoniche was and to a certain extent still is, related to a political context of support strategies and decisions. • It has not been based on specific managerial requisites, specific performance measures , potential management skills and financial responsibilities or specific demands for accountability other than reporting monthly or quarterly. It has been guided from an esthetical-professional point of view dictated and imposed to the Superintendent of the Opera house by the strategic “decisions” of the Policy maker, translated directly via the field specific related law, law decrees and regulations of the State and distributed through the FUS quotes to the Opera houses. Management by Decree (Panozzo, 1996) and not organizational needs or performance measurements. The strategies was triggered by political will and the management took them on adapting the “imposed” strategies to the organization who had to adopt to a “pattern” which was related to compliance of political dispositions and strategies. The model described, was by Mintzberg and Waters in 1985 defined as the “umbrella strategy”. The Italian MIBAC has elaborated and shaped its strategy to the FLS, by this model; which “dictated” or ,as we are in a democracy “imposed” the strategies to the Top management, called Superintendents with no or scarce feed-back from the activities and processes from the organizational production level ( artistic, technical, administrative, marketing, press areas) often with scarce knowledge from the micro processes laying inside the organization. Susanne Plaehn

20. IC=intellectual capital Judith Parus and Susanne Plaehn

21. Below display the impact of Intellectual capital (IC) attributes on organizational performances dimensions. Susanne Plaehn

22. In poche parole il capitale intelletuale ha seguente impatto sulle le varie dimensione del Teatro Comunale di Bologna (Studio di Longhi/Mura/Mariani 2009) • The below figure displays the Magnitude of the impact of intellectual capital on the dimension of organizational performance Susanne Plaehn