Following are some issues, which are especially related to recruiting the artists faced by Cirque: Increasing no. of artists Initially, Cirque required around 50 artists every year and their casting staff had to travel only those areas where they believe that their required artists will be sought out. In the recent years, as the number of shows started to increase as well as the increase in artist turnover at Cirque, the casting staff now currently has to recruit at least 100 artists in a year. In order to address this issue, Cirque spread out the auditions in around 20 countries across the globe. However, the cast division of Cirque found themselves out in a burnt out situation due to so much travelling. They have started feeling monotonic in conducting auditions, which may cause leaving out some potential artists from recruitment process because casters are not fresh enough to concentrate. Child Artists Another important concern for Cirque regarding the recruitment of artists is the inclusion of child artists in their artistic portfolio. Generally, the kids who live at the streets pose a problem for Cirque because of their growing up problems. For this issue, Cirque concentrated especially on recruiting those children who are supported and guarded by their parents. For those children who lack their family guardianship are less considered by Cirque. Individual artist out of the box At times, it happened that when conducting auditions especially in far off area like villages, only 1 or 2 artists are able to impress the casting teams. Since those artists is not educated and not aware of the cultural problems that he might have to face if he is recruited by Cirque as they cannot interact and mingle with other casts easily. It becomes a dilemma for Cirque as how to handle those artists. So in order to resolve this issue, the casting division made a strategy according to which a single artist from that village or area is not recruited rather several individuals with same talent are sought out and then the whole group is recruited because in the form of group, those artists can understand and help out each other. Management The management of those artists is still not a big problem for Cirque administration as appropriate coaching staff is recruited to enhance the skills and arts of the artists. Only the concerning issue is that as number of artists being recruited are increasing, the responsibilities and workload of coaching and training staff are increased but still they are under control not causing stress to them. Motivation Some of the artists blame Cirque as one of the place where artists are somewhat underemployed as they are only paid when the show is on. Fixed salaries are not paid to the artists, which stimulates a sense of being not equitable. However, according to some other artists working at Cirque, whatever the compensation is provided by Cirque is some double or triple from other industry participants. Apparently, it seems that management of Cirque has created a very flexible yet stable blend of providing rewards to its artists. As far as extrinsic rewards are concerned, triple times pay is something, which is more than enough to motivate the artists, as this much is extremely handsome for them even though their compensations are contingent upon the number of shows being conducted by Cirque. Conversely, Cirque believes highly upon providing the artists
Question 1 There are different sorts of issues reflected in the case study of Cirque de Soleil with regard to recruitment, management and motivation of the artists. In the following paragraphs, those issues are described and subsequently the appropriate course of action taken by Cirque is stated…
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2 pages (500 words)Assignment
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