Theatre, social media and spectatorship : translating commentary, critique and controversy across media

The occasional ArtsHub article asking spectators to show respect for stage by switching all devices off notwithstanding, in the last few years we have witnessed an clear push to make more use of social media as a means by which spectators might respond to a performance across most theatre companies. Mainstage companies, as well as contemporary companies are asking us to turn on, tune in and tweet our impressions of a show to them, to each other, and to the masses – sometimes during the show, sometimes after the show, and sometimes without having seen the show. In this paper, I investigate the relationship between theatre, spectatorship and social media, tracing the transition from print platforms in which expert critics were responsible for determining audience response to today’s online platforms in which everybody is responsible for debating responses. Is the tendency to invite spectators to comment via social media before, during, or after a show the advance in audience engagement, entertainment and empowerment many hail it to be? Is it a return to a more democratised past in which theatres were active, interactive and at times downright rowdy, and the word of the published critic had yet to take over from the word of the average punter? Is it delivering distinctive shifts in theatre and theatrical meaning making? Or is it simply a good way to get spectators to write about a work they are no longer watching? An advance in the marketing of the work rather than an advance in the active, interactive aesthetic of the work? In this paper, I consider what the performance of spectatorship on social media tells us about theatre, spectatorship and meaning-making. I use initial findings about the distinctive dramaturgies, conflicts and powerplays that characterise debates about performance and performance culture on social media to reflect on the potentially productive relationship between theatre, social media, spectatorship, and meaning making. I suggest that the distinctive patterns of engagement displayed on social media platforms – including, in many cases, remediation rather than translation, adaptation or transformation of prior engagement practices – have a lot to tell us about how spectators and spectator groups negotiate for the power to provide the dominant interpretation of a work.

Ruptured relations : guerrilla theatre, time & Pranksterish disability performance practice

Guerrilla theatre tends, by its very definition, to pop up unpredictably – it interrupts what people might see as the proper or typical flow of time, place and space. The subversive tenor of such work means that questions about ‘what has happened’ tend to the decidedly less polite form of ‘WTF’ as passersby struggle to make sense of, and move on from, moments in which accustomed narratives of action and interaction no longer apply. In this paper I examine examples of guerrilla theatre by performers with disabilities in terms of these ruptures in time, and the way they prompt reflection, reconfigure relations, or recede into traditional relations again - focusing particularly on comedian Laurence Clark. Many performers with disabilities – Bill Shannon, Katherine Araniello, Aaron Williamson, Ju Gosling, and others – find guerrilla-style interventions in public places apposite to their aesthetic and political agendas. They prompt passersby to reflect on their relationship to people with disabilities. They can be recorded for later dissection and display, teaching people something about the way social performers, social spectators and society as a whole deal with disability. In this paper, as I unpack Clark's work, I note that the embarrassment that characterises these encounters can be a flag of an ethical process taking place for passersby. Caught between two moments in which time, roles and relationships suddenly fail to flow along the smooth routes of socially determined habits, passersbys’ frowns, gasps and giggles flag difficulties dealing with questions about their attitude to disabled people they do not now know how to answer. I consider the productivity, politics and performerly ethics of drawing passersby into such a process – a chaotic, challenging interstitial time in which a passersbys choices become fodder for public consumption – in such a wholly public way.

Developing intercultural understanding through Asian-Australian children’s literature.

This PETAA paper discusses how the cross-curriculum priority concerned with developing Asia literacy, namely ‘Asia and Australia’s engagement with Asia’, can be significantly advanced through the study of children’s literature. The discussion proceeds from a brief overview of the historical development of Asia literacy to its current place within the Australian Curriculum. It then considers the potential of literature for assisting students and teachers in realising this priority through the Asian-Australian Children’s Literature and Publishing dataset, a research project on AustLit. Finally, it discusses a small selection of texts – two picture books and a novel – with suggestions or prompts for raising students’ intercultural understanding.

Theatre and beyond : the application of theatre directing to other contexts

At a time when theatre practitioners and companies are concerned with dwindling audience numbers, funding and interest (so what’s new?), what this paper discusses is less about theatre ‘changing direction’ and more about ‘changing theatre Direction’. A subtle semantic shift perhaps but one which has proven enormously useful over 25 years as a professional creator, director, performer, designer and teacher for stage, screen – and other contexts. Applying theatrical skills to apparently unrelated contexts is not new, however it bears re-examining. My own experience as a ‘directorial specialist’ in mime and movement confirms the fundamental theatricality in all human communication – whether stage, screen, auditorium or meeting room – I would argue that there is no professional context completely devoid of some measure of ‘performance’. And if you’re going to do performance, however minutely, subtly and in whatever context, at least make it the best performance you can by ‘directing it’. This paper examines the adaptation of theatre direction to other contexts and discusses:- • which other contexts • directing non-performers • what theatre direction provides

Chroma Key Theatre : an examination of similarities and divergences in the use of Green Screen in two experimental theatre works

This paper examines the frame as it contributes to the debate on contemporary intermedial theatre and performance practices in light of increasing astriction between filmic and theatrical discourses. Informed by Auslander (1999), Lehmann (2006), and Giesekam (2007), and through an extrapolation of the tenets Eckersall, Gretchen and Scheer identify in the theory of New Media Dramaturgy, it will analyse two recent works of experimental theatre-making. RUFF (2013), a New York produced solo performance by one of the world’s leading female performers, explores her experiences of having a stroke. Total Dik! (2013), produced in Brisbane, Australia, is an interdisciplinary collaborative performance that examines aspects of dictatorship. They are clearly very different works yet there are a number of significant theatrical similarities in their use of Chroma Key technology and live compositing as material scenic devices. These works overtly and evocatively draw on the cinematic technique and technology of Chroma Key to augment and reveal the tensions and overlaps in their production processes.

Staging childhoods : experiments in authentic theatre making practice with children

This practice-led PhD project investigates the ways in which society positions children through a broad set of social, cultural and historical considerations and examines these within the frame of theatre making. The study proposes a model of practice that moves beyond participant empowerment toward a more dynamic understanding of the creative process that sees adults and children working together to create mainstream artistic product. It contends that this model creates conditions conducive to authentic theatre making practice with children as evidenced in the researcher’s original performance work Joy Fear and Poetry.

Lived experience and devised theatre practice : a study of Australian and Norwegian theatre students' devised theatrical practice

This study explores the incorporation of young people's lived experience upon the creative dynamics in the development of devised performance practice. By employing Vygotsky's creativity theory to devising processes the role of lived experience is analyzed through three case studies located in two theatre education colleges in Norway and Australia. The study demonstrates how young peoples' life experience is a primary resource that is developed and reasoned upon in the creative performance practice. A key finding of the study is the identification of two distinct type of performance outcome in devised theatre practice, described as "livsbasert/life-based" and "egenskapt/self-made" that will enable devised theatre to have a more nuanced understanding of both process and product in the Nordic context.

Good choices, great future : an applied theatre prevention program to reduce alcohol-related risky behaviours during Schoolies

Introduction and Aims. The contextual and temporal factors of post-school celebratory events ('Schoolies') place young people at elevated risk of excessive drinking compared with other social occasions. This study investigates the impact of an applied theatre prevention program 'Choices' in reducing the risk of drinking and other risk behaviours during Schoolies celebrations. Design and Methods. Choices was delivered in the last term of Year 12 across 28 North Queensland schools. A total of 352 school leavers (43.1% male, mean age=17.14years) completed a questionnaire at Whitsunday Schoolies, Queensland, Australia on 23-24 November 2010. Nearly 49% of respondents had attended Choices. The survey included measures of alcohol use, illicit drug use and associated problems during Schoolies and a month prior to Schoolies. Results. After controlling for gender and pre-Schoolies drinking, school leavers who attended Choices were significantly less likely to report illicit drug use (OR=0.51, P<0.05) and problem behaviours (OR=0.40, P<0.01) than those who did not attend Choices. There was, however, no intervention effect in risky drinking (i.e. drank on 5 or more days, typical amount five or more standard drink and binge drank on 3 or more days) at Schoolies (OR=0.92, P=0.80). Discussion and Conclusions. Delivery of a youth-specific applied theatre prevention program employing a harm minimisation framework may be effective in reducing high-risk behaviours associated with alcohol consumption at celebratory events, even if young people expect to engage in excessive alcohol consumption. [Quek L-H, White A, Low C, Brown J, Dalton N, Dow D, Connor JP. Good choices, great future: An applied theatre prevention program to reduce alcohol-related risky behaviours during Schoolies. Drug Alcohol Rev 2012;31:897–902]

Intercultural Dialogues in Early Childhood Education for Sustainability : Embedding Indigenous Perspectives

Embedding Indigenous perspectives in early childhood education for sustainability (ECEfS) upholds social and political action goals that support a holistic approach to promoting sustainability in educational contexts. Such goals should be responsive to particular contexts and their histories to ensure local issues are a focus of sustainability alongside global areas of concern. This chapter explores how intercultural dialogues and priorities foreground broader themes of sustainability that attend to local issues around culture and diversity, and equity in relations between groups of people. Attending to such themes in educational practice unsettles a standard environmental narrative and broadens the scope and potential for ECEfS in early years settings. Strengthening intercultural priorities in ECEfS requires a commitment to reflective practices that attend to the influence of one's cultural background on teaching and learning processes. Educators committed to reflective practices provide even greater capacity for children to act as change agents (Davis, 2008, 2010) around multiple dimensions of sustainability.

Brave New Welcome

Brave New Welcome is the title of a short film, and a project, which was driven by a diverse group of young people who engaged with arts practices such as playback theatre, visual and media arts, and who worked with a range of professionals to develop their own response to the issue of how young people from refugee backgrounds are welcomed in Brisbane. Film Description on Vimeo: In January 2014, at a time when Australia is full of messages of ‘unwelcome’, a group of 20 young people from diverse backgrounds came together in Brisbane. We asked, ‘What does it take to make friends with people who are really different from ourselves?’ We told stories using music, playback theatre and community café dialogue. Our experience was so awesome we decided to give others a taste. So, three months later, we brought over 80 young people together in a forum to meet each other and tell stories in creative and interesting ways. We shared our ideas, asked big questions, and challenged others in our community. What can you do to create a Brave New Welcome?

Black Diggers: Out of the trenches at the Brisbane Festival (Theatre review)

The performance space in which Wesley Enoch’s play Black Diggers is being performed at the Brisbane Festival is a large black box. It features a raised stage in the middle which proves versatile for battlegrounds at home and abroad – and later as ground for discriminatory encounters experienced by Aboriginal returned ex-servicemen. The fire-filled 44-gallon drum off to the side creates another space of encounter; there are few other props. Now and then, dates and other details are whitewashed on the black walls...

WIL-power: Developing journalism students' intercultural communications and international reporting skills on field trips to Vietnam

This article examines journalism students' learning experience that is intercultural, immersive and intensive. Accounts of 'intercultural' experience date back to Herodotus of Halicarnassus; 'immersion' is integral to contemporary practice in language learning; and 'intensive' delivery has been refined to an art by postgraduate business education. Together they can be grouped under the broader pedagogical concept of work-integrated learning (WIL). This article examines two WIL projects that involved field trips by journalism students to Vietnam in 2012 and 2014, and their implications for future WIL initiatives.

Theatre, co-creativity & co-creative spectatorship

Theatre is a socially and politically aware artform. It participates in the construction – and, potentially, the contestation – of a community’s history, identity, and ideals. It does this live, in the moment, where artist, artwork and audience meet here, now, together. This, most theatre makers think, gives theatre special power to make spectators think about the stories it stages. But it also creates challenges.

The Wuzhen Theatre, Zhejiang, China: An architectural review

Designed by Taiwanese architect Kris Yao of Artech Architects for the Wuzhen Tourism Development Company, the Wuzhen Theatre is situated in Wuzhen, a historic scenic water town located in east China's Zhejiang Province. This theatre stands as an architectural beacon for Wuzhen, and is to be considered an important place on the global atlas of theatre and China's epicentre of theatre, culture and arts.