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Review on Related Literature

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Journal of Vacation Marketing

Szilvia Gyimóthy

literature review theme parks

Scott Lukas

Florian Freitag

Muzaffer Uysal

Graeme S Baker

From Meet Me at the Fair: A World's Fair Reader. ETC Press.

thibaut clément

s Since early 1900s, theme park has gradually evolved into a major type of tourist attraction. For certain location, it is the main reason for visitations. Design and construction of such successful theme park requires outstanding creativity, and professional knowledge of logistics and operational requirements. These, however, can easily drive the development of new parks into product oriented rather than market oriented establishments. While it is difficult and premature to draw any conclusion on whether it is appropriate or preferred, there seems to be crucial to understand more about the desires, requirements and preferences of the guests. After all, it is the satisfaction level of the guest that determines their visit and re-visit propensity. It is also important to take note that once the park is built, alternations will be difficult and costly. Another consideration given to the study is that while the existing literature on theme park is rather scant, knowledge about the oriental markets are even less available. On top of this, the market is undergoing a process of changes. One of which would be the aging of the population which indicated the necessity to approach an elder group of visitors and to satisfy the needs and wants of this adult non-family group. For this conference, an exploratory study is used to identify the key attributes for a theme park to be successful and experience that is preferred. It would adopt a qualitative approach and employ in-depth interview as the major mode for data collection.

Leonie Cooper

This chapter explores the complex relationship between science fiction and the theme park. It moves beyond an analysis of SF themes and tropes that are used to design theme parks and their attractions to explore the SF experience that is enabled by these environments. The Disney parks are taken as exemplary of the theme park, and a close analysis of an attraction at Epcot entitled Mission: Space is undertaken. This particular focus provides a means of revealing how Disney situates “guests” in an ambivalent position, one that is inherently science-fictional. The chapter proposes that the sciencefictional mode of engagement activated by the theme park offers the means of recognizing and negotiating the science-fictional worlds that we now inhabit.

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Theater + Arts | Review: ‘Alma’ at Anaheim’s Chance…

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Theater + arts, theater + arts | review: ‘alma’ at anaheim’s chance theater is an intimate portrait of the immgrant experience.

literature review theme parks

In the play’s Orange County premiere, a hard-working mid-30s mother from Mexico, and her high school daughter, a culturally Americanized U.S. citizen, grapple with challenges affecting their future while wrestling — quite literally in some moments  — with each other.

During the work’s 95 minutes they come to grips with everything from the aftermath of the 2016 presidential election to the merits of a dubious luncheon choice of Hot Cheetos and beers vs. sensible rice and beans (in this one, it’s the daughter’s digestive system that comes out badly).

Marta Portillo and Heather Lee Echeverria appear in a scene...

Marta Portillo and Heather Lee Echeverria appear in a scene from “Alma” at Chance Theater. (Photo by Doug Catiller)

Heather Lee Echeverria and Marta Portillo star in “Alma” at...

Heather Lee Echeverria and Marta Portillo star in “Alma” at Chance Theater. (Photo by Doug Catiller)

Marta Portillo and Heather Lee Echeverria star in “Alma” at...

Marta Portillo and Heather Lee Echeverria star in “Alma” at Chance Theater. (Photo by Doug Catiller)

Heather Lee Echeverria plays the title role in “Alma” at...

Heather Lee Echeverria plays the title role in “Alma” at Chance Theater. (Photo by Doug Catiller)

Heather Lee Echeverria plays a 17-yearold student in “Alma” at...

Heather Lee Echeverria plays a 17-yearold student in “Alma” at Chance Theater. (Photo by Doug Catiller)

Marta Portillo and Heather Lee Echeverria star in “Alma,” playing...

Marta Portillo and Heather Lee Echeverria star in “Alma,” playing at Chance Theater in Anaheim through May 31. (Photo by Doug Catiller)

The setting is the San Gabriel Valley city of La Puente. La Puente translates into “the bridge” and what Alma and her daughter Angel unknowingly strive to do is forge and cross the universal bridge between parental dreams and a child’s aspirations.

The play is set the evening before Angel is about to take that all-important SAT test. A top score will fuel her admittance to UC Davis.

But Alma has her suspicions as she arrives home early from work, stealthily entering their apartment at the start of the play: Is Angel at home? Is she really studying as hard for the test as she needs to?

This is the first of the many divides in their expectations. One of those is a notable disconnect: Alma projects a future for Angel as a hometown veterinarian; Angel sees herself becoming a zoologist and visiting Africa.

Alma herself is the embodiment of the aspirational immigrant. By herself, she was pregnant at 17 with Angel when she crossed the border.

Her goal was, and is, the prototypical better American life for them both, with social mobility requiring a constant push on an upward trajectory.

Angel, meanwhile, is framed by creeping doubts that seem hallmarks in Gen Z lives in the 2010s and 2020s.

She is no longer interested in taking the test nor in moving to an expensive university 450 miles north of their home.

Playwright Benjamin Benne has a skillful eye for these dynamics and familial interactions. He grew up in Hacienda Heights, the son of a previously undocumented Guatemalan woman.

The “write what you know” qualities here feel like they inform his two characters in their worldly challenges, the lack of citizenship for Alma and a lack of a clear life course for Angel.

A shared quality that empowers both of them is their ability to communicate freely with each other.

Yes, there are many challenges and struggles, but there is no underlying estrangement here — and this is never in doubt. Everything comes from a place of mutual love.

As theater, a core strength of this production comes from director Sara Guerrero and actors Marta Portillo (Alma) and Heather Lee Echeverria (Angel) in bonding the two performances in a naturalistic way, the characters feeling completely inhabited and fully realized.

Portillo’s Alma as mom is almost a quasi-dictatorial CEO of this organization where her sole underling’s actions and motives have to be scrutinized at the most basic of levels — for instance: how much money was wasted on that oversize, half-consumed bottle of orange soda found hidden away in the bedroom?

An entertaining and frantic physicality powers Portillo’s portrayal. Often as not, the actress bursts in mini gallop through the apartment’s small space, around the couch (which doubles as her bed), on her knees in the kitchen floor and breathlessly animated in engaging with her obstinate daughter.

Echeverria makes for a very believable 17-year-old, equal thirds cagey wise child, self-absorbed rebellious whelp and vulnerable, emotive, teen all at once.

The actress smoothly shifts through her own feelings while alternately combatting, placating and, always, loving the domineering woman who is the play’s center of gravity.

The show is enhanced with a few fleeting, quasi-mystical ambient elements.

As the house goes dark, the audience is under a starry overhead sky, hearing a sound montage — from spatial, instrumental music to the sound of an old train chugging along — which conveys the passage of time through eras until the present.

There is also a seemingly possessed television, blaringly disrupting the family’s interactions at a seeming demonic whim.

Scenic designer Christopher Scott Murillo has placed the event in a wonderfully tight and cluttered, but recognizably safe, home environment, a visual cocoon nurturing the two characters.

There are many visual details to gaze at. An example, underscoring the generational and cultural splits … on top of the kitchenette’s fridge, a big yellow box of Cheerios is simpatico next to a couple bottles of what appears to be unlabeled, homebrew salsa.

Lighting designer Kara Ramlow has strung a latticework of lovely, small twinkly lights above the stage and out over the front of the audience to help convey those ethereal touches. Melanie Falcón’s sound design is an impactful force, especially when those abrupt, jarring bursts from the satanic TV overwhelm onstage conversations.

Ultimately, “Alma” is a story of two women seeking to bridge their own gaps and create paths to make a way through their American lives. It’s a road that is paved with mutual caring, which, one hopes, can see them through whatever comes next.

‘Alma’

Rating: 3 stars (out of 4)

When: Through May 31. Regular performances: 7:30 p.m. Thursdays, 8 p.m. Fridays, 3 and 8 p.m. Saturdays, 3 p.m. Sundays

Where: Chance Theater, Fyda-Mar Stage, 5522 E. La Palma Ave., Anaheim

Tickets: $41-$49.

Information: 888-455-4212; chancetheater.com

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    To inform this synthesis, the concept of a "theme park" is defined based on core characteristics drawn from a comprehensive literature review within and outside the tourism literature (details about the review procedure appear in the Appendix; please see the online supplementary materials).The 317 selected journal articles, most published after 2000, demonstrate a clear growth pattern ...

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    Literature Review . Perceptions of Theme Parks . Theme parks are important attractions or destinations in tourism as they deliver a sense of fantasy and escape emphasizing on hedonic and pleasurable experiences, in which visitors' emotion or physical environment play an important role in creating tourist experiences (Ma, Gao, Scott & Ding, 2013).

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