Ben Monk, 15 January 2017

Attended by:

Kirsty Sedgman (and Monty!)

Christopher Hoss

Rosie Scudder

Ed Browning

Ginnie Stephens

Tom Wateracre

Matt Sheahan

… and more lovely butterflies!

Such a top session, that fluttered off into so many fascinating directions. Will email

round after w/ sources. All these points were mentioned by lots of brill people:


*Key action point: start EXPERIMENTING. Social media networks the ‘live’ as future,

from Periscope to Facebook Live.

*How do you get that LIVE EXPERIENCE on the screen? Mediums BATTLE in

translating to screen.

*Remember: different types of liveness - SPATIAL, TEMPORAL and SOCIAL.

GLOBAL liveness needs to be pursued.

*EVENTNESS. Preshow draws people into the event. Embedded post show.

Backstage. Audience. Atmosphere is essential.

*Non-London audiences it is useful for geographic spread. Couldn't afford the cost for

school kids. But centres on London out, not regions out.

*Research shows: younger audiences like streams. older audiences like event cinema.

doesn't cannibalise live audiences but IMPROVES.

*Storytelling: new storytelling - digital storytelling. Story diving - stories are AMPLIFIED

by phone streaming. Can long form theatre be adapted to short form storytelling?

*How do we get independent artists to use? BAC proposing ideas to the BBC, Live

From Television Centre to new Performance Live strand on BBC 2 from BBC 4.

*Live streaming is only as strong as the tech. Tech can fail.

*Streamed events you become part of the conversation w/ communal audience.

*Older audience in event screening asking WHAT IS A HASHTAG

*Digital natives - more at the centre?

*Making theatre FOR a screen?

*NT LIVE are early adopters and the tech will spread.

*Screened theatre as a DIFFERENT product. As marketing?

*Mrs Brown's Boys is theatrical! Theatrical events have a ripple effect - Trump's

performance AMPLIFIED through the screen. Live audiences have a dramatic irony,

can recognise theatricality.

*Football and Premier League - advertised as watching communal performance, but

research shows is watched ALONE.

*BAC talked about adapting Collision's The Money for screen. How would a

performance so audience focus work on screen.

*Ticket prices are £16 at the Curzon cinema for conventional cinema. But it's about

GEOGRAPHICAL ACCESS. It's not the theatre I'd want to to see and teach but it's


*You can see the process of becoming professional on X Factor, why not with

Theatre? Scratchr - can we share Scratch progress through LIVE STREAMING.

Digital sharing which is ALLOWED to fail, not on TV where completeness expected.

*Bootlegging theatre, they feel a responsibility to enjoy and share with OTHERS.

*A play script becomes instructions, not the definite object.

*Digital curation of a theatre festival? Julian Cope, every day something new. Telling a

story through DIFFERENT frames

*Theatre is destroying itself. Theatre is for people LIKE US. Tensions between people

we want to have in, but we can do the OTHER.

*There will always be an audience - don't have to screen - but research shows live

streaming particularly attracts a younger audience. What pleasures derive from

POPULAR THEATRE - screening ‘lesser forms’, eg football.

*Livecast to people's phones? Screen can put people on the EDGE. Theatre is a

COLLECTIVE experience. FB Live showed backstage. Scale of the cinema against a



*Liveness / participation on the RECEPTION END. Not defined by particular design



Age, Theatre, scratch, internet, new audiences, Media, funding, Funding, audience,

adaptation, tv, Audience, bac, cinema, presence, TV, education, BAC, THEATRE,

youtube, Storytelling, age, digital, Scratch, cast, Technology, audiences, Youtube,

Education, Internet, livestream, training, television, new media, media, technology,

livecast, storytelling, broadcast, Audiences, screened theatre, engagment, stream,

Training, preroll, screen, Digital, preshow, live from, screening, amplify, theatre,

liveness, Broadcast, live, atmosphere, mediation, Cinema