Almost like being there? A conceptualisation of live-streaming theatre

Abstract

Purpose The live streaming of theatrical performances to cinemas has become increasingly common in recent years. The practice offers potentially positive returns for audience reach, audience development, revenue streams and global cultural exchange (Cochrane and Bonner, 2014; Nesta, 2011; King, 2016). However, the conceptualisation of live performance transmissions remains under-explored. The purpose of this paper is to review critically selected literature on event experience and apply it to the growing practice of live-streaming theatre (LST). In doing so, the paper develops a new conceptual model that can be used to guide future research on audience expectations, motivations and experience of LST. Design/methodology/approach A comparative historic case study approach combines a structured review of relevant academic literature and industry sources. Theories of live cultural experience and authenticity are critically reviewed. The opportunities and threats of LST to performing arts companies are summarised. The approach considers cognitive, affective and behavioural factors in probing themes of audience awareness, perceptions, expectations and experience of LST. The paper uses these factors to develop an original conceptual model for LST. Findings The research finds that the practice of cinematic live transmission of performing arts challenges existing conceptual categories and marketing strategies. Fundamental events studies factors such as “attendance”, “authenticity” and “experience” are re-evaluated. The model suggests that despite improvements in digital technology traditional theatre and broadcasted theatre are two different experiences, not substitutes. Research limitations/implications As a conceptual paper, the results are subject to being tested in the field. The findings reveal implications for the evolving future of hybrid and mixed event experiences. The potential for LST screenings to attract new audiences requires further study. Practical implications The implications of the research reflect the changing business models and supply side dynamics of theatre production and touring. The results suggest that live streaming is of limited effectiveness in addressing the capacity limits of Baumol and Bowen’s (1966) “cost disease” in live arts performance. LST allows major brands to penetrate regional markets thereby potentially squeezing out smaller touring companies and restricting innovation. Social implications The findings reveal implications for the evolving future of hybrid and mixed event experiences. Originality/value The influence of digital technology on live arts experience is currently under-explored and under-theorised. This paper develops a new conceptual model that captures in greater detail than previously the various factors that may determine audience engagement with, and experience of, LST. The paper contributes to knowledge by expanding the discourse on the gaps between the competing aims of access and authenticity. The analysis expands the academic understanding of hybrid and virtual event experiences.

Travel live streaming: an affordance perspective

“…Given its technological affordances, live streaming is one manifestation of modern sociality (Thorburn 2014 ) in that it operates by affording ways of being together, being on the move, or being far apart. The feeling of ‘almost being there’ (Mueser and Vlachos 2018 ) increases immersion and engagement, and enables viewers to be virtually involved in the ‘surroundings’ by using a digital lens. This ‘transportation’ of viewers can be measured by the level of presence experienced by viewers.…”

Can “Live Streaming” Really Drive Visitors to the Destination? From the Aspect of “Social Presence”

“…Live streaming gives people a feeling of being there (Mueser & Vlachos, 2018). Live streaming, which uses one or more kinds of communication technology, accomplishes and allows images and sounds to be immediately transmitted from one location to another and enables viewers to feel that they are present at an event (C. C. Chen & Lin, 2018).…”

“…Live streaming gives people a feeling of just being there (Mueser & Vlachos, 2018). In recent years, a number of academic studies have assessed live streaming using case studies or by exploring related skill applications, such as usage intention (Hu et al, 2017), source credibility and motivation (Todd & Melancon, 2018), live-streaming theater (Mueser & Vlachos, 2018), or purchase intention (Sun et al, 2019).…”

Micromobilization through live streaming: the Elin Ersson case

“…Andén-Papadopoulos (2008) and Feldman (2005) have argued that the pervasiveness this brings about enhances the power of media to add social value to any given event. Live streaming thus redefines the relationship between digital technology and event broadcasting, introducing a new form of virtual attendance (Mueser & Vlachos, 2018).…”