Analysis of the use of selected social networks in Slovak theatres

This study summarises the performance results of social network profiles of selected Slovak theatres in the 2024/25 season. AVG proved to be a key quantitative KPI that should be monitored continuously to ensure reliable evaluation. Using the full theatre season as the observation period strengthened the objectivity of the findings. The results may support the creation of effective marketing communication strategies and enable theatres to compare their online performance with competitors, serving as a basis for SWOT analyses. Social media represent essential marketing communication tools that facilitate direct interaction with spectators. The evaluated KPIs on Facebook and Instagram were flexible and time specific, reflecting the dynamic nature of online communication. As they change continuously, long term monitoring is necessary. Theatre programmes and attractive online content may attract new followers and enhance engagement. Users today divide their attention across multiple platforms such as Facebook, Instagram, YouTube, Snapchat, TikTok, LinkedIn, X, Telegram, etc. It is therefore likely that new communication platforms will continue to emerge. The social media environment is rapidly evolving and requires theatres and marketers to react promptly and adapt their communication strategies.

Information and communication technology has affected multiple areas of life and all types of communication. The implementation of online marketing tools can also be observed in theatres. In addition to providing a theoretical background, this study presents an analysis of the use of selected social networks in the marketing communication conducted by theatrical institutions in Slovakia; it also examines the performance of their social media profiles, quantified through relevant media indicators (KPIs). Two types of theatres were included in the analysis: theatres under the competency of the Ministry of Culture of the Slovak Republic and the municipal (regional) theatres under the competency of the self-governing regions. The primary research methods involved a quantitative and comparative analysis conducted over a single theatre season (from 1 September 2024 to 30 June 2025).

1 Introduction

The changes that have occurred in the field of communication, associated with the use of digital data processing and telecommunication transmission, i.e. the beginning of the use of the information and communications technology (ICT), have significantly transformed the nature of communication as such. Digitalisation has affected all aspects of life, including the marketing communication. Online marketing, also referred to as the internet marketing, involves the use of interactive, virtual spaces for promoting and selling goods and services via internet. It combines the innovative tools and methodologies that are used for marketing products and services via the internet. It encompasses a wide range of marketing strategies and enables organisations to reach large audiences at minimal cost. Moreover, online marketing provides an instant feedback and analytical data; it is flexible, fast and has a global impact.
The nature, intensive use, and popularity of ICT have had significant quantitative and qualitative effects on the original principles of what once the dominant communication paradigm (face-to-face interaction). A change in the form of information necessarily affects the content (Cenková 2020, p. 276). Current trends represent a shift from written and verbal expressions towards a more visually artistic mode of communication, with a preference for large images, photos, striking headlines, and only a limited amount of information encoded in text. The purpose of presenting a message in this style is to use its intrinsic effects to achieve the highest possible efficiency (the largest possible number of views, likes, clicks, responses, shares, comments, etc.).

2 Theoretical background

Active marketing communication is important when designing any promotional campaign. The marketing environment is developing and regularly innovated. Since the beginning of the massive use of the internet, subjects have been confronted with a challenge to reorganise their marketing strategies, in particular to transform them from the conventional to the online marketing forms. In conventional marketing, products were offered using the tools of the marketing communication mix (advertising, word of mouth, public relations, sales promotion, and direct marketing). With the onset of online platforms, and due to constantly changing customer behaviour, the conventional marketing mix had to be supplemented with online marketing communication tools such as SEO (Search Engine Optimisation), PPC (Pay-Per-Click) advertising, email marketing, social media marketing, content marketing, etc. As a result, marketers now have better access to the user’s data and can therefore improve targeting. However, online marketing has not eliminated the conventional forms of communication. Despite the widespread use of the internet and several years of the pandemic, the majority of customers still appreciate interpersonal contact. For example, according to the U.S. Department of Commerce, electronic commerce accounted for only about 15 percent of total retail revenues in 2022. The Euromonitor revealed that the penetration rate of electronic commerce is much higher – and the highest globally – in China, but still remains below 30 percent (Kotler 2023, p. 30). Therefore, it is now necessary to achieve a synergy between conventional and modern marketing tools. The currently popular social media marketing consists of creating and distribution content on social media platforms. It is aimed at attracting the attention of both new and existing customers and keeping them engaged in communication. Community management is of equal importance; it focuses on what happens after messages are posted in social media. It comprises customer service, social media monitoring, tracking trends, engaging in discussions, etc. (Kumar 2022).
The COVID-19 pandemic was a powerful stimulus that intensified the digitalization of activities in cultural institutions (Parkhomenko et al. 2024, p. 121; Cirlugea and Farago 2024, p. 143). Social media represent an important part of online marketing and may be used at minimal or even zero cost. This financial advantage makes them convenient carriers of information and advertising, especially for low-budget organisations, including the non-profit institutions.
The core of communication on social media platforms is a piece of content (a post), which may take various forms (Cenková 2017, p. 549) It represents a basic unit of communication on social networks. Mutual communication between a sender and a receiver, as well as the content creation and sharing, are the crucial aspects of social networks (Cheonsoo 2017, p. 443) Posts induce responses, and comments lead to rational and interactive functions and sharing (Dhanesh 2022, p. 48-49).
The use of social media is very popular in Slovakia as well. For example, a GO4Insight survey clearly showed that the most widely used social platform in Slovakia is Facebook, followed by YouTube, Instagram, TikTok, etc. (Go4Insight 2024, online). According to DataReportal: Digital 2025 Slovakia, at the beginning of 2025, the internet was used by 5.05 million of people in Slovakia (91.8% of the population), while social networks were used by 3.60 million users aged 18+ years, corresponding to 80.7% of the total population aged 18+. In Slovakia, Facebook had 2.60 million users at the beginning of 2025 while Instagram had 1.60 million users (Kemp 2025).
Facebook has been globally the most used social network (Bačík 2015, p. 677), and it continues to hold this position (Statista, 2025, online). All social networks provide their users with the opportunity to communicate and share multimedia content in various formats (Cenková 2008, p. 19). Instagram is a free social network, primarily designed for sharing photos and videos. Its users can edit and share photos and short videos through a mobile application. To each post, they may add a description and use hashtags (#) and geographical tags. The success of an Instagram profile is directly proportionate to the quality of the shared photos and videos. Since the platform is strongly focused on the visual content, the main message should be integrated directly into the shared photo (image).

3 Research section

The research sample of the study was analysed for selected online marketing KPIs (Key Performance Indicators) of two (the most used) social networks in Slovakia – Facebook (FB) and Instagram (IG) – used by the selected theatre institutions, which were divided into two research groups. The framework applied to such a division was the relevant legislation, in particular Act No. 103/2014 Coll. on Theatrical and Musical Activities and on Amendments and Supplementations to Certain Acts (hereinafter referred to as the Act on Theatres) (Act on Theatres 2025, online). The first group comprised the theatres operating under the competency of the Ministry of Culture of the Slovak Republic (within the meaning of Section 3 of the Act on Theatres), in particular: Slovak National Theatre (SND), National Theatre in Košice (ND KE), and Nová Scéna Theatre (DNS) [Art and Creativity 2025]. This group included art institutions that conduct theatrical activities as specified in Section 2(1) and are theatrical institutions as specified in Section 2(4) of the Act on Theatres. All institutions included in this group had active profiles on both FB and IG.
Pursuant to Section 4 of the Act on Theatres, the self-governing regions and municipalities are the authorities with the competency over theatrical and musical activities at the regional level. Therefore, the second group of the research sample consisted of municipal theatres which primarily conduct dramatic performances; the puppet theatres and dance theatres were excluded from the analysis (Municipal Theatres 2017, online):
The following institutions were included in the second group:
Western Slovakia – Andrej Bagar Theatre (DAB), Aréna Theatre (DA), Astorka Korzo ´90 Theatre (DAK), Ján Palárik Theatre (DJP), Ludus Theatre (DL), Jókai Theatre (Komáromi Jókai Színház (KJS)), Pavol Orságh Hviezdoslav City Theatre (DPOH), Karol Spišák Old Theatre (SDKS);
Central Slovakia – Jozef Gregor Tajovsky Theatre (DJGT), City Theatre in Žilina (MDZA), Slovak Chamber Theatre in Martin (SKDMt);
Eastern Slovakia – Alexander Duchnovič Theatre (DAD), Jonáš Záborsky Theatre (DJZ) (unfortunately, its FB profile was not compatible with the analytical tool used in the study), Romathan Theatre (DROMA), Thália Theatre (Thália Színház Theatre (DTS)), ACTORES City Theatre in Rožňava (this theatre did not have a business FB profile), and the Spiš Theatre (SPD).
The analysis of the FB KPIs included 15 municipal theatres while the analysis of the IG KPIs included 17 municipal theatres; at the time of conducting the research, they had active business profiles on the analysed social networks. The analytical tool used to interact with those profiles was the ZoomSphere ZoomSphere 2025, online). The research included only those theatres that employed their own dramatic ensembles, whereas theatres that merely provided their stages to guest actors were excluded (e.g. the City Theatre in Košice).

3.1 Methodology

The theatrical institutions listed above were divided into two research groups (state theatres and municipal theatres). The following step was a survey of whether they had their own business profiles on FB and IG. The profiles were monitored already in the 2024/25 theatre season in order to obtain the most relevant results. Using the ZoomSphere, a tool designed for social media management that facilitates the analysis, monitoring, and assessment of activities conducted on social networks, the selected FB and IG metrics were evaluated. Due to the scope limitations of this paper, it is impossible to report on all of the analysed KPIs. Therefore, only those indicators that are the most relevant from a marketing perspective are presented here. The purpose of the study was to provide the available quantitative data rather than to examine the content of the monitored communication. Each theatrical institution has its specific group of followers (a target group) who are offered the theatre’s programme and with whom the theatre communicates using a special language. The aim of the study was not to assess these qualitative aspects, but to present a quantitative evaluation of the effectiveness of the marketing strategies implemented on social networks.

3.2 KPI identification

The core research activity consisted of monitoring specific online marketing Key Performance Indicators (KPIs), i.e. the key and measurable performance metrics used for assessing the success rate and performance of organisations, products, services, or processes. Tools designed for analysing social media offer a wide range of KPIs, such as page views, the number of external accesses to a website (most frequently from google.com), and the number of interactions (the engagement). Most content creators strive to increase the engagement, i.e. to increase the number of likes and comments on the news feed (the content displayed on social networks).
Selecting relevant KPIs for research is a complex issue addressed by numerous scholars and marketing professionals. One of the key works in this field can be considered the publication by Trunfio and Rossi: Conceptualising and measuring social media engagement: A systematic literature review comprising an analysis of 259 academic articles focused on social media engagement. The authors state: „The systematic literature review confirms that there is no theoretical certainty or solid consensus among scholars about measuring engagement on social media.” (Trunfio and Rossi 2021, p. 281-284).
The paper, among other things, suggests the COBRA model as a conceptual tool to classify and interpret social media, that can be traced to the three dimensions of consumption, contribution and creation (Schivinski et al. 2016). „When measuring social media engagement, researchers should pay attention not only to ‘contribution’ but also to ‘consumption’ and ‘creation’, which are important indicators of the attention a post receives (Oviedo-Garcìa 2014; Schivinski et al. 2016), giving them a different weight.
It becomes even more important if considering that the same social networks provide different weights to users’ actions” (Trunfio and Rossi 2021, p. 285-286).
Despite the conceptual and qualitative research on the topic, even the most recentmetrics offer measurements that do not allow engagement to be widely represented in its multidimensional and polysemic nature (Oviedo-García et al. 2014; Peltier et al. 2020 In: Trunfio and Rossi 2021 p. 286). Some authors (Rogers 2018; Abuljadail and Ha 2019) point out that an exclusively quantitative approach does not provide a complete picture of user engagement on social media; therefore, it should be complemented with qualitative research, which makes it possible to gain deeper insight into the motivations, context, and meaning behind user interactions.
The KPI with the highest explanatory power for brand and for awareness building on social networks is the Engagement Rate (ER). It represents the percentage of all engaged users (EU) – that is the number of unique users who made any click on the website’s content, but did not necessarily have to add a like, share it, or post a comment, divided by the Reach parameter, i.e. the number of people who viewed a particular post, and multiplied by 100 (Eger, 2024, p. 162). We consider this parameter to be key to our research. The ZoomSphere analytics tool offers a similar metric to ER in its portfolio, called “The average number of interactions per fan” (AVG). It calculates this value by dividing the KPI called “account of interactions” by the number of fans and multiplying the result by 100. This KPI is one of the crucial metric for monitoring FB and IG pages, as it builds brand awareness and fosters interaction between users and the FB/IG page.
The resulting ER depends primarily on the published posts, their format, and their frequency. It is therefore necessary to publish posts with a certain regularity. In other words, AVG may be used to measure the performance of social networks. With AVG, you can measure the performance of social media platforms.
Due to the fact that the monitored theatres operated in cities with populations of various sizes, the Page Fans/Fan´s Trend parameter was not considered a KPI relevant to this study. In certain cases, a large number of fans may even hinder performance in other KPIs, as demonstrated, for instance, by research conducted by Rival IQ based on large-scale internet data. It indicated that as the number of members or followers of an organisation increases, achieving a high engagement rate becomes more difficult compared to smaller organisations (Feehan 2024).

3.3 KPI evaluation/Results

The aim of this study was to identify the KPI that is capable of indicating the quantity and quality of activity on a particular social medium based on various parameters.
The parameter identified as the most appropriate for this purpose was the AVG, representing the average number of interactions with a FB/IG profile per fan. This indicator has the highest explanatory power. The selected parameter was monitored on both social networks, FB and IG, in both research groups (theatres under the competency of the Ministry of Culture of the Slovak Republic and in the municipal theatres). A comparison was made for both groups. The same procedure was applied to the both social media – FB and IG.
The four tables below show the performance of social network profiles of the analysed theatres. The first column shows their position based on their market share achieved in the AVG KPI. The second column shows the current calculated value of AVG, and the third column shows the market share expressed as a percentage (calculated as the market share within the selected group). The fourth column indicates the values for the previous period (2023/24 theatre season) compared to the monitored period (2024/25 theatre season), and the last fifth column shows the difference between the two periods.
The borderline values (particularly the recorded increases) may have resulted not only from organic impact but also from the influence of additional external variables—most notably paid advertising, as well as algorithmic changes of platforms, current societal developments, PR campaigns, and shifts in audience and competitor behaviour. However, no data on these factors were available, and we acknowledge that their absence represents a limitation of this research.
Differences can also be observed between state and municipal theatres. The decline in values within the group of state theatres is most likely attributable to several factors: their smaller number, historically older profiles discovered by audiences in earlier years, lower levels of interaction with the profiles—potentially due to a higher average age of their audiences — insufficient calls to action (CTAs), the absence of content formats associated with higher engagement rates (such as reels or carousels), and other related aspects.

WordPress Tables
Table 1: Average Per Fan (AVG) for the Facebook profiles of the theatres under the competency of the Ministry of Culture of the Slovak Republic and their shares in the above-specified market in the period from 1 September 2024 to 30 June 2025.
Source: Author

The values in the last columns of Tables 1 to 4 indicate the percentage difference between the monitored and the previous periods. A decrease is displayed by the analytical tool as a percentage without a minus sign (highlighted in red) whereas an increase is indicated with a plus sign (in black). The analysis shows that NDKE achieved the highest share of interactions during the monitored period (72%), although it recorded a 42% decrease in interactions per fan compared to the previous season. By contrast, the smallest decrease in interactions per fan was observed for DNS, which had an 18.3% market share and exhibited a 31% decline in the AVG parameter.

WordPress Tables
Table 2: Average Per Fan (AVG) for the Facebook profiles of municipal theatres and their shares in the above-specified market in the period from 1 September 2024 to 30 June 2025.
Source: Author

As for the AVG parameter, which indicated the strength of the relationships between the fan community and their interactions with the page, the Spiš Theatre achieved the highest market share (16.3%) among all municipal theatres with its FB profile, as well as a 114% increase in the Interactions Per Fan parameter. The highest annual increase was recorded for by the Aréna Theatre (DA), which achieved a rise of +171%. By contrast, the largest decrease in interaction compared with the previous period, was observed for DPOH, amounting to 63%. The lowest market share was observed for DL – 1.4%, accompanied by 23% decrease in the AVG parameter.
The table below presents the analysed AVG parameter for the Instagram social network.

WordPress Tables
Table 3: Average Per Fan (AVG) for the Instagram profiles of the theatres under the competency of the Ministry of Culture of the Slovak Republic and their shares in the above-specified market in the period from 1 September 2024 to 30 June 2025.
Source: Author

Table 3 shows that the best results on the IG social network were achieved by the National Theatre in Košice, which reached a 65.2% market share and recorded an increase of +155%. The largest decrease compared to the previous season was observed for SND – 77%, whereas the lowest market share (13.2%) was generated by the Nová Scena Theatre. Which showed a decline of 42%.
Table 4 presents the values for municipal theatres regarding their performance on the IG social network.

WordPress Tables
Table 4: Average Per Fan (AVG) for the Instagram profiles of municipal theatres and their share in the above-specified market in the period from 1 September 2024 to 30 June 2025.
Source: Author

The data in Table 4 indicate that the IG profile of the SKD in Martin was created during the analysed theatre season, which explains why it reached the highest market shared – as much as 99.3% (a +100% difference compared to the previous season). As for the already existing profiles, the highest value of this KPI (an increase in the number of interactions per fan by 344%) was achieved by DAB, whereas the greatest decrease was observed for the Alexander Duchnovič Theatre (-50%). This decline was most likely caused by the age structure of its target group (the dominant age category: being middle-aged and older audiences , who show a stronger preference for interaction via FB).

4 Conclusions

This study presents the performance results of the analysed social network profiles of selected Slovak theatres in the 2024/25 theatre season. For the sake of objectivity of the research results, it should be added that no data was available on whether any of the analysed theatrical institutions had used any paid FB or IG campaigns, which could significantly increase the number of interactions. Nevertheless, AVG is a parameter that should be monitored and optimised on a daily basis, and the choice of an entire theatre season as the observation period reflects the autor´s intention to obtain results with the highest possible degree of objectivity. The presented results may be used in the process of designing an optimal marketing communication mix for the individual theatres and creating their online marketing strategies. They also enable the theatres to compare their performance with that of competitors and may be used as a starting point for a SWOT analysis.
Social media are important tools of marketing communication. Their advantage lies in the fact that they facilitate engagement of spectators in communication. The metrics used for the assessing profiles on social networks – Facebook and Instagram – were created within a specific time and context and remain flexible (i.e. not final). They were predominantly quantitative in nature. Since the analysed KPIs are constantly evolving, it is important to monitor them over a longer time period and, in future research, supplement the data with content analysis As stated by Kupec et al. (2020, p. 9).: „This, in most cases, risky development needs to be monitored in order to eliminate risks, control changes, and uncover ineffectiveness.” A theatre´s programme, as well as attractive content published on its social network profiles, can attract new fans (spectators). At present, user´s interest in particular social media platforms is diversified. In addition to FB and IG, they also follow YouTube, Snapchat, TikTok, LinkedIn, the X social network, Telegram, and other networks. It may be assumed that the future will bring even more new platforms of online communication. The “market” of social networks is a rapidly changing environment that requires quick and flexible responses from marketers.

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Kľúčové slová/Key words

theatre, marketing communication, social networks, Facebook, Instagram, analysis, KPIs
divadlá na Slovensku, marketingová komunikácia, KPI, sociálne médiá, online výkonnosť

JEL klasifikácia/JEL Classification

M31, M37, Z11

Résumé

Analýza využívania vybraných sociálnych sietí v prostredí slovenských divadiel
Štúdia prezentuje výsledky výkonnosti profilov sociálnych sietí Facebook a Instagram vybraných slovenských divadiel. Zameriava sa na dve kategórie divadelných inštitúcií – divadlá v zriaďovateľskej pôsobnosti Ministerstva kultúry Slovenskej republiky a tzv. samosprávne divadlá. Základnými výskumnými metódami sú kvantitatívna a komparatívna analýza, realizovaná počas jednej divadelnej sezóny 2024/25 (od 1. 9. 2024 do 30. 6. 2025). Za kľúčový kvantitatívny ukazovateľ online mediálnej výkonnosti (Key Performance Indicator – KPI) sa považuje ukazovateľ miery zapojenia používateľov (Engagement Rate), v niektorých metrikách nazývaný aj ako AVG (The Average Number of Interaction per Fan), ktorého kontinuálne sledovanie je nevyhnutné pre zabezpečenie reliabilného hodnotenia. Prezentované výsledky môžu prispieť k tvorbe efektívnych online stratégií marketingovej komunikácie a umožniť analyzovaným divadlám porovnávať vlastnú výkonnosť s konkurenčnými subjetmi, napríklad ako východisko pre realizáciu SWOT analýz. Sociálne médiá v súčasnosti predstavujú neoddeliteľnú súčasť marketingovej komunikácie kultúrnych inštitúcií a poskytujú priestor pre priamu interakciu s (platiacimi) divákmi. Hodnotené KPI majú flexibilný a časovo špecifický charakter, čím reflektujú dynamickú povahu online komunikácie. Vzhľadom na ich premenlivosť si vyžadujú dlhodobé a systematické spravovanie a sledovanie. Kvalitný divadelný program v kombinácii s atraktívnym online obsahom na sociálnych sieťach môžu podporiť získavanie nových sledovateľov a zvýšiť ich mieru zapojenia smerom k budovaniu stálej diváckej základne. Používatelia pritom rozdeľujú svoju pozornosť medzi viaceré sociálne platformy: Facebook, Instagram, YouTube, Snapchat, TikTok, LinkedIn, X, či Telegram, pričom možno predpokladať vznik ďalších nových komunikačných kanálov. Prostredie sociálnych médií sa vyznačuje vysokou mierou dynamiky, čo kladie zvýšené nároky na schopnosť divadiel a marketingových profesionálov flexibilne reagovať a adaptovať komunikačné stratégie na neustále meniace sa podmienky v online prostredí.

Recenzované/Reviewed

23. March 2026 / 26. March 2026