Theatre, Social Media, and Meaning Making

Hadley, Bree

doi:10.1007/978-3-319-54882-1

Cited by 19 publications

(13 citation statements)

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“…What we observed, through these workshops, was the way in which disability culture as method produces swift trust, in an inclusive theatre-making process. In the performing arts, where project-based work which brings combinations of artists from within smaller or larger professional networks together for a series of short-term training, development, rehearsal or presentation periods, synchronously or simultaneously, trust is critical (Hadley, 2017b). As Breda McCarthy (2006: 47) has noted, the relative scarcity of funding, jobs and job security in this project-based industry and the high personal, financial and artistic stakes attached to the work, creates a competitive climate which is not naturally conducive to trust.…”

Section: Quick Trust In Slow Timementioning

confidence: 99%

“…For disabled artists and their allies, latent experience with these methods is -as McCarthy (2006) flagged in her general discussion of swift, latent and rational trust in the performing arts -important when considering who to work with in projects and collaborations. Given the stakes, distrust for those who exploit or otherwise break faith with these trusting relations can be strongly felt (McCarthy, 2006: 49;Hadley, 2017b).…”

Section: International Journal Of Disability and Social Justice 21 Ju...mentioning

confidence: 99%

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Quick Trust and Slow Time

Hadley¹,

Paterson²,

Little³

2022

IJDSJ

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In the last decade, the field of Disability Arts has been recognised as a powerful source of aesthetic innovation. Yinka Shonibare has described it as ‘the last remaining avant-garde movement’ (Bragg, 2007), where artists with lived experience of disability produce new combinations of form, content and politics, which engage spectators in provocative reflections on the way we relate to each other in the public sphere. Despite a range of policies, plans, protocols and funding programmes to support disabled artists and collaborations between mainstream producers and disabled artists, the statistics – at least in our context in Australia – suggest most disability art still occurs outside and alongside an industry that struggles to include these artists. In this article, we draw upon findings from a series of workshops with disabled artists around Australia, conducted as part of the ARC funded Disability in the Performing Arts in Australia: Beyond The Social Model project – known colloquially to its collaborators and participants as ‘The Last Avant Garde’ project (https://lastavantgarde.com.au) – to propose a new approach. We find that while provision of logistical access (ramps, hearing loops, interpreters) and ideological access (stories, characters, discourse and language) is critical, so is methodological access, which embodies disability culture in training, rehearsal and production processes. Disabled artists use crip culture, along with relational space and time to negotiate what happens in disability arts and culture production practices and work through desire, fear, vulnerability and reciprocity to rapidly establish trusting collaborations. It is inclusion of disability culture relationships and concepts, as much as ramps and inclusive language, that makes a practice feel safe for disabled artists – and this, we argue, is what the mainstream sector has to learn and what the disability arts sector has to teach about improving the inclusivity of the creative industries.

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Section: Quick Trust In Slow Timementioning

confidence: 99%

Section: International Journal Of Disability and Social Justice 21 Ju...mentioning

confidence: 99%

Quick Trust and Slow Time

Hadley¹,

Paterson²,

Little³

2022

IJDSJ

Self Cite

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“…These cases represent an initial phase characterised by a "fascination" with the medium. However, as Bree Hadley (2017) analysed, the relationship between theatre and social media now concerns a much broader spectrum of meaning-making possibilities that arise around performances. In her study Hadley traces at least six areas in which we can currently observe the impact of social media in the theatrical field: 1) in the use of social media for the construction of intermedial performances, 2) in the dissemination of performances, 3) in the processes of audience development, 4) for the critics' public, 5) for documentation and archiving, and 6) in the performative aspects concerning the daily use of social media.…”

Section: Theatre and Social Media: Between Promotion And Performativementioning

confidence: 99%

Between Live and Life: Exploring the Online Presence of Performance Artists

Gemini

Brilli

2020

SPIR

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In the last decade, the use of social media in the theatre scene has fueled debates on the possibility to redefine the performer-audience relationship on a wide scale. Scarce attention, however, has been paid on empirically studying how performance artists balance their use of social media between the need to promote their work and the ambition to experiment creatively on the medium affordances. This paper explores the use of social media by Italian contemporary theatre artists and companies. The study aims to explore the relational labour (Baym 2018) of performance artists in tracing the boundaries between online/offline performativity and between personal self-narration and artistic promotion. Through a combination of profile analysis and in-depth interviews, we want to understand how this artistic scene - that always experimented on intermedial and participatory possibilities - is making sense of social media. Preliminary results show how social media interaction and content production is becoming an integrated part of companies working routines. Companies position their social media activity outside a purely promotional logic. This anti-promotional ethos translates to a lack of efficacy in terms of strategic communication. However, it also lays the basis for the use of social media to expand performative practices. Although the interviewed companies do not exclude such a possibility, they lament their current inability in making such an attempt. Lacking resources is the most quoted explanation of this failure, followed by the refusal to compromise with the constraints of online languages, and the distrust of social media to reach wider audiences.

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“…

In this paper, we examine how social media practices shape freelance actors' and theatre employees' professional lives, social relationships, and occupational selfconceptions. Social media platforms have changed the conditions of the production, distribution, and reception of creative works (Hadley, 2017;Nieborg & Poell, 2018). Previous studies have shown that for creative professionals in precarious conditions, social media entail promotional work (e.g.

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confidence: 99%

Negotiating Professional Belongings: Finnish Actors’ Affective Engagements on Social Media Platforms

Soronen

Koivunen

2021

SPIR

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This study addresses how creative workers’ social media presence affects their understandings of professional agency. Focusing on Finnish professional actors, we ask how social media practices inform and shape actors’ occupational self-conceptions and professional belongings. In the theoretical framework, we employ Baym’s notion of relational labour and read it through Berlant’s (1998) conceptualisation of intimacy as mobile attachments. The data is collected from 15 Finnish actors, eight freelancers and seven theatre employees, from June 2020 to March 2021 by using the diary-interview method. The analysis is based on a close reading of the interview material and diary entries in which participants describe their experiences and feelings concerning their presence, work-related connections, and promotion on Facebook and Instagram. The study indicates that for both theatre actors and freelancers their social media activities are entwined in their sense of professionalism and belongings to occupational communities of peers. They negotiate and speculate about their social media presence in relation to peer assessments in a way that involves continuous movements between visibility and invisibility and between independence and interdependence. Our study suggests that to understand the ambivalences involved in creative workers’ presence on social media platforms, it is important to broaden the investigation from strategic self-promotion and audience engagement to questions of professional identities and communities.

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Theatre, Social Media, and Meaning Making

Cited by 19 publications

References 0 publications

Quick Trust and Slow Time

Quick Trust and Slow Time

Between Live and Life: Exploring the Online Presence of Performance Artists

Negotiating Professional Belongings: Finnish Actors’ Affective Engagements on Social Media Platforms

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