Tag Archives: live-casting

Martin Barker and ‘the remarkable rise of livecasting’

The summer reading continues on, and next on the list is Martin Barker’s Live to Your Local Cinema: The Remarkable Rise of Livecasting (Palgrave Pivot, 2013). This is the first – and as far as I know still the only – book-length work on the growing phenomenon of live theatre broadcasting, and although it is a short one it still manages to cover considerable ground in its 93 pages. Barker is a media studies specialist, with particular expertise in the study of film audiences, and one of the biggest contributions of his book makes is to orient the many questions surrounding theatre broadcasting towards those audiences and their experiences in the cinema. He does so through the collection and analysis of nearly 650 audience questionnaires, completed by attendees at theatre broadcasts at the Picturehouse cinema chain in 2009. In the process he also surveys some of the most relevant research on liveness and mediation in the performing arts, and he raises a series of pertinent (though as yet unanswered) questions about where theatre broadcasting is headed and what this might mean for audience experience.

live to

For a reader like myself, one of the most interesting things about Barker’s perspective is its orientation towards film rather than theatre studies. Much of the conversation I’ve been a part of so far focuses almost entirely on how live broadcasting is changing theatre and theatre-going, but Barker’s work shows us how it is significantly affecting cinema culture as well. His first chapter offers a brief history of the rise of digital cinema in the early 2000s and then ‘alternative content’ – aka ‘event cinema’ – shortly thereafter, leading to assertions by the end of the decade that ‘Cinema is fast becoming a multi-arts venue’ (8). In Chapter 2 he continues with a look at the emerging aesthetics of theatre and opera broadcasting, one genre in the growing range of event cinema offerings, and he illustrates, with a faint whiff of disappointment, how approaches to filming and editing tend to be ‘cautious’ (21) and geared towards showing cinema audiences that ‘we are watching a stage’ (16). Although what he calls ‘cinematic flourishes’ or ‘bravura moments’ do appear in most broadcasts, they are used sparingly to punctuate what is on the whole a ‘transparent, unobtrusive, and invisible’ style (15-17). For me, some of Barker’s observations came as a useful surprise; I typically find myself longing for the (very) wide-shot and getting frustrated with what I consider constraining close ups, while he notes that the very idea of ‘close ups’ in theatre broadcasting should remain in quote marks since such shots ‘will almost always include torso and arms. Extreme close-ups are unknown here’ (18). Not all close ups are made equally, I’ve learned.

How close is close?

From Chapter 3 onwards Barker gets down to the nitty gritty of analysing audience data and thinking through which aspects of live broadcasts cinema audiences respond to most strongly. While some work has already been done on the demographics and perceptions of broadcast audiences, most notably by NESTA, Barker rightly points out that such research has been more focused on the economic viability of live broadcasting and has tended to overlook the question of audience ‘experiences per se’ (25). Barker’s own research attempts to remedy this lack: after attending briefly to demographics (above all, theatre broadcast audiences tend to be older than typical cinema audiences, he tells us), he goes on to consider what he calls ‘audience pleasures and meanings’, namely ‘the value of localness’ and the ‘powerful sense of participating in the occasion’ (30-2). This emphasis on locality, eventness, and immediacy prompts him to survey, in Chapter 4, the ways in which academics from theatre, television, music, film, comedy, and sports studies conceive of liveness  and live experience (to put it briefly: as with the close up, we are not united). While pretty much everyone puts a premium on ‘simultaneity’ (aside from music studies, to a certain extent), Barker suggests that the value of other factors such as ‘bodily co-presence’, ‘experienced risk’, ‘immediacy/spectatorial control’, and ‘sense of place’ vary across the disciplines. His quick summary doesn’t always convince or satisfy me (I don’t agree, for instance, that ‘a sense of place and locality … is largely ignored in theatre thinking’) (57-8), but still the survey is very helpful in challenging readers to look at these thorny issues across different artistic and entertainment forms, rather than always sticking to home territory. And his concluding remarks about what he calls ‘virtual performance studies’, i.e. varieties of digital art and performance, really struck me as important. Here he identifies how ‘liveness’ functions ‘not [as] a descriptive or normative concept, but [as] a tool and a goal. Its question appears to be not whether liveness is present, but how can we make people feel that it is?’ (58).

Such a proposition – that liveness may in fact be as much a kind of feeling as a particular geographical or temporal relationship – took me back to Philip Auslander’s categories of ‘liveness’ in his landmark book, and my own musings whether or not the power of liveness is down to its ability to make us feel ‘a-live’, and vividly part of something. One very effective way of doing this is through temporal and/or geographical co-presence with the event itself, but can the feeling be just as strong through temporal and/or geographical co-presence with other things, namely an audience or community? In his discussion of TV studies, Barker suggests that liveness can be created (or, more cynically, constructed) through the insertion of human reaction into editing sequences (47). Similarly, in his discussion of music studies, he notes how ‘The thing that makes the difference’ is ‘a sense of occasion, of audience collectivity, of ritual’ (53), and in comedy studies how ‘“liveness” can be as much about belonging to a locality and community as about physical presence per se’ (55). His final discussion of sports studies goes furthest of all; reflecting on the common practice of gathering in pubs to watch televised broadcasts of games, Barker observes how audiences may ‘generate a cultural context which they can then own and treat as “live”’ (57). Liveness, in this way, becomes much more about engagement, eventness, and feeling: ‘being there’ might be one powerful way of producing such experience, but what Barker’s survey begins to suggest is that there is more than one ‘there’.

Being there.

Chapter 5 continues in this vein, exploring how cinema audiences at theatre broadcasts characterize liveness themselves, and the conclusion is largely the same: ‘audiences communally produce new ways of “doing liveness”’ (71). Different kinds of audience members might want different things (Barker divides his respondents into what he calls ‘immersives’ and ‘experts’ (67)), but he suggests that for everyone part of the value and enjoyment of the broadcasts is the opportunity to celebrate not only the art on display but also the audience experiencing it together. They are ‘living’ such experiences, he suggests, and he further posits that ‘Thinking about the liveness of such events in this way would entail a wholesale re-theorisation of what we mean and intend by the concept’ (72).

Ultimately, that re-theorisation is not part of the scope of Barker’s study, which he characterizes at the outset as ‘a “come-on” to other researchers’ in the field rather than an exhaustive and definitive response (viii). In his final chapter he outlines a series of possible questions that those researchers might take up, but his invitation always remains an open and exploratory one. In this spirited and lively book he casts his net wide and brings together initial data, possibilities, and questions that should interest anyone working in this field, be they cultural theorists, sociologists, geographers, media specialists, or indeed performance scholars. As this review and response no doubt shows, for me his most exciting points are about the experiential and affective dimensions of liveness. But for others – who knows?


Shakespeare and the live broadcast – part 1

At long last, the monograph is finally done, the edited collections are out, the marking is completed, the exam boards are past, the summer is here, and digital Shakespeare returns! (For me, at least) It’s been a long, good, but hard year, with almost all of my research time focused on finishing up work on Shakespeare and the cultural history of the emotions. Here is a link to The Renaissance of Emotion: Understanding Affect in Shakespeare and His Contemporaries, which came out at the start of the month and is one of the fruits of this labor.

But now that this work has moved out of my inbox and into the publishers’, I find myself thinking about Shakespeare and digital performance once again, and more specifically of Shakespeare and the livecast. Perhaps this is because of the Live Theatre Broadcast Symposium that will be taking place at the University of York tomorrow, and that will feature plenaries from Illuminations’ John Wyver, Pilot Theatre’s Marcus Romer, the ROH’s Ross MacGibbon, plus talks from many other amazing scholars. I’m very sad to be missing it (I said summer was here, but I’m back up on Birmingham campus tomorrow for one final round of administrative meetings and boards), but I’m excited that the organizers are planning to live-stream this conference on live-streaming, which is both very generous and pleasingly fitting of course! Here’s hoping that the campus wi-fi holds up as I attempt to tune in throughout the day.


In the meantime I’ve been getting back to thinking about live relays myself, and also doing more research into what has been published already. In many ways this is a very young field, with much of the writing on it taking the form of newspaper journalism, blogs (like this one), Twitter exchanges, and short-ish special features (see in particular the great series of live broadcast reviews in one of last year’s Shakespeare Bulletin issues). But in other ways this is an area with considerable history, as both Phillip Auslander’s and John Wyver’s work on the early history of television has shown. And publications have been coming out in the last year that focus specifically on the phenomenon that is live broadcasting from the theatre (be in the NT, the RSC, the Met) and to the cinema.

One of the first ones that I decided to look at was a special issue of the journal Adaptation focused on the way live broadcasting is reshaping performance and audience experience. It emerged out of a conference last year at De Montfort called From Theatre to Screen–And Back Again, and the special issue features articles from a wide range of scholars interested in the two-way traffic between the stage and the screen. The opening three papers by John Wyver, Bernadette Cochrane and Frances Bonner, and Janice Wardle focus specifically on live broadcasts, which are variously referred to as ‘doubled adaptations’, ‘live relays’, ‘outside broadcasts’, ‘event cinema’, and, within the cinema industry at least, ‘alternative content’. Like any academic discipline worth its salt, terminology proves an issue, and a vexed one at that, and while each set of authors ultimately settles on a different term, one factor linking all three is the sense that live broadcasts and recordings (my preferred terms) are always ‘new texts’.

After an introduction from Elinor Parsons, one of the conference organizers, Wyver opens the special issue with a critical survey of the history of broadcasting Shakespeare live to screen in Britain, first to television and eventually to cinema. He makes some important and very useful points about the relations between what he calls ‘theatrical’, ‘televisual’, and ‘cinematic’ modes, and then considers how each have been employed in the history of Shakespearean broadcast filming. We must resist the inclination to see such broadcasting as a transparent process, he argues, emphasizing that a broadcast’s ‘image sequences, which are considered and scripted and rehearsed responses to a host of factors’, do not just ‘appear on screen courtesy of some kind of outside broadcast fairy’. He also observes how those who have attended to this process gravitate at times towards a ‘discourse … centred on loss’ (of liveness, of co-presence, of reciprocal experience). Turning to the great André Bazin, he suggests that we need to come up with new ways to conceptualize the creative work that these ‘doubled adaptations’ do, with one possiblity being a greater consideration of the way space (theatre space, TV/film space) works across stage and screen. ‘Critical discussion of live cinema, much like the form itself, is just at the start of a journey’, he writes, and he invites others to join him in thinking critically about this ‘popular and powerful theatre form for the future’.

The next two articles in the issue take up Wyver’s call, each offering a reflective analysis of productions included withing the Met, NT, RSC, and ROH live-broadcasting programmes. Cochrane and Bonner begin with a critique of ‘the rhetoric of minimal difference’ that they think ‘persists’ in discussions of live broadcasts, emphasizing the distinctiveness of these new forms and particular kinds of audience experience they facilitate. They are at times very sceptical of the marketing and discussion surrounding the transmissions, suggesting that ‘the cachet attached to the idea of liveness is a major exploitable commodity on sale’ within these broadcasts, and they also query the extent to which the audience members’ ‘rights of reception’ — that is, the right to look where they please — are being denied. Very interestingly, they suggest that in live broadcasts ‘we are being told a story’, whereas in the live, co-present theatre we are ‘watching an enactment’. The implication seems to be that theatrical enactment is something that emerges, even gives birth to itself, in real-time — or at least that it seems to do so. I’m not sure that I agree with this distinction, but I definitely find it very interesting and suggestive; my own comments elsewhere about camera shots that contain and even predict the movements of the actor have something in common with these sentiments, I think, even if my broader take on the work and experience of live broadcasts differs somewhat from Cochrane and Bonner’s.

Wardle’s article follows, and offers a complementary if slightly different take. Like Wyver, she emphasizes ‘the role of place’ in what she chooses to call ‘outside broadcasts’, and her discussion focuses on the way place is experienced and ‘performed’ both by the production broadcast and the receiving audience. In her consideration of ‘theatre’s rootedness in time and place’, she cites Mark Thornton Burnett’s assertion that theatre’s temporal and spatial rootedness positions it in contrast to the priorities and demands of globalization, which ‘den[y …] time, space and place’. Such an argument touches on Peggy Phelan’s view that theatre cannot be reproduced for mass circulation — a point that live broadcasts either overturn or reiterate, depending on what you make of them. If they are indeed ‘different texts’ entirely, then perhaps Phelan’s argument about the essential ephemerality and ‘unmarked’ nature of theatre stands. But if they are seen as on a continuum with live, co-present theatre, then perhaps we see a different model taking shape. Though this is not Wardle’s focus, it’s one that emerged for me as a reader as I engaged with her sensitive and observant analysis of filming sequences in the NT Live’s 2014 King Lear and the RSC Live’s 2013 Richard II (both of which I had the opportunity to see on stage as well as screen, and both of which were also directed for screen by Robin Lough). Here Wardle maps the creation of stage space by the sequencing of shots chosen for these broadcasts, which range from dramatic placing shots to frequent mid-shots to occasional reaction shots. She also notes how the RSC broadcast incorporated ‘views and sounds of the audience in the theatre’ with considerable success, a move that she suggests ‘strengthened the cinema audience’s conviction that the event was a shared, live event’.

I’m inclined to agree. In my own experience, incorporating the audience, whether visually or aurally, helps orient the experience in the theatrical, even when I’m seated in the cinema, or indeed at home alone on my couch. While some might find the appeal to the theatrical, or to the live, rather disengenuous or even ‘exploitable’, I find it helpfully orienting and even absorbing. Maybe this is because I do go to the physical theatre quite a bit, and I’m projecting that experience onto the screen. But I also remember very distinctly my first world-altering, thoroughly magical ‘theatre’ experience, and it happened courtesy of my best friend’s television screen in Cary, North Carolina when I was about nine. Before me was a live recording of Sondheim’s Into the Woods, performed by its original Broadway cast, and I was hooked. I knew I wasn’t in New York, but I didn’t care — I was there, and it was here.

If that all sounds a bit sentimental, well, I suppose it is. Theatre, and all art really, is I think a matter of feeling (among other things). And I suppose what interests me most of all is how skillful live broadcasting guides and creates feeling for its audiences. All this needs more working through, of course, and I’m hoping that some of the talks at tomorrow’s conference, and some of the readings that are next up on my desk, will help me keep moving towards a language and an approach that breaks these experiences down into some kind of model of spectatorship. Part 2 of this post should appear within the week, complete with thoughts from the bits of the conference I am able to ‘attend’ arround my meetings, and also reflections on another recent and important publication on live broadcast’s — Martin Barker’s Live to Your Local Cinema: The Remarkable Rise of Livecasting (Palgrave Pivot, 2013). Stay tuned!