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50% of UK Theater Streaming Shows Switch to Face-to-Face Only During Coronavirus | theater

 


More than half of UK theaters that have offered online performances during the COVID-19 pandemic will return to direct shows this fall, raising concerns that they could lose improved access for audiences with disabilities.

The study found that 56% of publicly funded theaters that held at least one show online during the first 18 months of the pandemic had no scheduled shows for the fall season.

Richard Misek of the University of Kent, who conducted the survey with Adrian Leguina of Loughborough University, said that digital programming has provided significant access benefits, especially for geographically remote and disabled audiences.

A sudden return to an in-person performance, and the degree to which it raises important questions. What does it mean for remote and handicapped audiences, as well as D/deaf and neurotic audiences, the vulnerable, the elderly and homebound audiences? Audiences, caregivers, night shifters, people who can’t afford to visit a theater, people who feel that going to a theater is not for them, and many other potential audiences that may be physically difficult or impossible to attend.

A study conducted as part of the Arts and Humanities Research Council project on digital access to arts and culture during the pandemic found that 126 of 224 UK theaters and theater companies were Produced at least 1 online artwork during the period. .

There are over 60 online productions for the fall season. However, the five theaters that have had no digital production during the closure are due to premiere this fall.

Disabled theater director and playwright Jamie Hale said many were not ready to return to a full auditorium. Hale told BBC Radio 4s Front Row that he doesn’t feel safe. During the closure, Ive felt that the theater could be experienced much more. It is very concerned that if the auditorium fills up, the amount the theaters offer for live streams will decrease and will no longer be available to those living in rural areas, to those who are cared for and nurtured. Not only people with disabilities like me, but also responsible for accessing the theaters we want.

Next month’s Hales show in Barbican, the CRIPtic Pit Party, is both live and online.

Misek has set several examples, including opera companies that use digital to overcome historical and cultural barriers to art forms, a performance duo that creates shows specifically for homebound audiences, and art galleries that use digital to diversify their artist community. I am doing a case study.

The most common reason theaters and troupes return to direct production is financial concerns. Digital production cannot yet rely on monetization. At the same time, the financing to get started is fragmentary and erratic. As such, theaters often lack the financial incentive to work online and invest in building digital capabilities, Misek said.

Some large corporations, including National Theatre, Young Vic, and RSC, were working to develop sustainable models for digital theaters. Most theaters and theater companies continuing digital activity this fall are large, he said, providing additional evidence of the digital divide between large, resource-rich organizations and small and medium-sized organizations.

It is important for funders to allocate funds to digital development and arts organizations in order to capitalize on developments over the past 19 months, and we continue to experiment with new forms of digital programming.

Sources

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2/ https://www.theguardian.com/stage/2021/oct/10/50-of-uk-theatres-streaming-shows-online-during-covid-revert-to-in-person-only

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