Devoted & Disgruntled 12: What Shall We Do About Theatre and the Performing Arts Now?
Theatre *xLIVEx* to screen: why / not?
Ben Monk - 15 January 2017
REPORT DETAILCalled by Benjamin Monk.
Kirsty Sedgman (and Monty!)
… 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:
*SCREENED THEATRE IS NOT MORE OR LESS BUT DIFFERENT.
*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 available.
*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 phone. YOU MUST TAILOR YOUR SCREENING TECHNIQUES TO OUR CHOSEN SCREENING OUTPUT.
*Liveness / participation on the RECEPTION END. Not defined by particular design decisions.
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