挺过失败一家剧院集团的创业心路_时事

挺过失败一家剧院集团的创业心路

合适的内容、合适的剧院，合适的时间——这些都是说起来容易，做起来却很难，因为你控制不了所有的变量。成为一个伟大的创意制作人是不够的，在靠近悬崖边缘的那一刻，我一下子醒悟过来：我们的成功取决于处在我们影响范围外的因素。于是我们着手控制整个流程：经营制作、场地所有/管理和售票这三块业务。这使我们得以降低失败几率，也为创造力的迸发创造合适条件。

“You can’t produce a hit show to order. It has to grow organically, it has to be nurtured, saidour creatives, but dark theatres eat money and staff have to be paid, a constant juggle of cashflow and overheads. It was essential to balance creativity and pragmatism, and my role wasenabler.

我们的创意人员说：“你不能根据订单制作出热门剧。它只能内生式发展，它必须得到培育。但是有大量空座的剧院大厅是烧钱的，我们还得给员工发工资，始终为现金流和人力之间的平衡发愁。有必要平衡创意与务实，我的角色就是促成这一切。

Being a start-up was all about trying things out. We gave our creatives the freedom to developwork with leeway to experiment but not carte blanche to spend up to the max. Sometimesfinancial constraints brought about more imaginative work. And failure is part of the creativeprocess. What we had to do was make sure it was not catastrophic, that we could learn thelessons and move on fast.