Understanding audience participation in an interactive theater performance

Pargman, Teresa Cerratto; Rossitto, Chiara; Barkhuus, Louise

doi:10.1145/2639189.2641213

Cited by 53 publications

(32 citation statements)

References 25 publications

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“…Teresa Cerrato-Pargman and colleagues [15] indeed, in their very first paragraph, reel off 15 references, indicating there is a considerable body of work in this area; another addition to the emerging palette of (occasionally distributed) performance art. This might provide additional methods to be used in evaluating mediated performances.…”

Section: "Research Conducted At the Intersection Of Live Art And Digimentioning

confidence: 99%

Co-present and remote audience experiences: intensity and cohesion

Geelhoed

Singh-Barmi

Biscoe

et al. 2016

Multimed Tools Appl

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This article presents the results of modelling audience response to new types of networked theatre plays. As the main contribution of the work we introduce two types of metrics: intensity, relating to how intensively co-present and remote aspects of a performance are rated, and cohesion, relating to how a performance as a whole, the combination of copresent and remote aspects, affects an audience. In particular, we model audience response based on two in the wild evaluations, staged by a low budget theatre company, a streamed and a distributed performance. The streamed performance is similar to NT Live, where a theatre play is delivered to other theatres with an audience. The distributed performance, on the other hand, connects actors in two different theatres (with audiences) creating one single play. The streamed performance was experienced as less intense as well as less cohesive by the remote audience, whilst the distributed performance integrated co-present and remote aspects tightly. Remote aspects of the distributed performance were still experienced as less intense, but the performance as a whole was highly cohesive. Apart from the identification of these two new metrics (intensity and cohesion), based on our experiences we argue that an innovative way of bundling relevant emerging technologies is needed to give a voice to the, as yet silent, remote audience.

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Section: "Research Conducted At the Intersection Of Live Art And Digimentioning

confidence: 99%

Co-present and remote audience experiences: intensity and cohesion

Geelhoed

Singh-Barmi

Biscoe

et al. 2016

Multimed Tools Appl

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“…Wang et al used a hybrid method that combines GSR data and survey responses for determining the audience engagement during a play [19]. Mobile devices have been used to collect audience feedback, in the form of likes and dislikes [17] and comments and responses to questions [6]. Corness et al used interviews to provoke audiences to re-live a performance and measure their empathy towards performers [7].…”

Section: Audience Engagementmentioning

confidence: 99%

“…Teevan et al visualized audience engagement using graphics, in which circles changed colors based on engagement [17]. Alternatively, Cerratto-Pargman et al displayed text messages from the audience on a large display behind the actors [6].…”

Section: Audience Engagementmentioning

confidence: 99%

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Distributed Liveness

Webb¹,

Wang

Kerne³

et al. 2016

Proceedings of the 19th ACM Conference on Computer-Supported Cooperative Work &Amp; Social Computing

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We identify emerging phenomena of distributed liveness, involving new relationships among performers, audiences, and technology. Liveness is a recent, technology-based construct, which refers to experiencing an event in real-time with the possibility for shared social realities. Distributed liveness entails multiple forms of physical, spatial, and social copresence between performers and audiences across physical and virtual spaces. We interviewed expert performers about how they experience liveness in physically co-present and distributed settings. Findings show that distributed performances and technology need to support flexible social copresence and new methods for sensing subtle audience responses and conveying engagement abstractly.

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“…As a one-way communication system, they miss information about the reaction of the audience [19], [20] and do not provide means for the audience to interact, except out of band using system like the social network Twitter. Previous works have considered interactivity based on mobile phone usage [21] or messages [22]. In our case, we provide audience awareness between the locations based on the audiovisual communication.…”

Section: Related Workmentioning

confidence: 99%

A Distributed Theatre Experiment with Shakespeare

Williams

Kegel

Ursu

et al. 2015

Proceedings of the 23rd ACM International Conference on Multimedia

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This paper reports on an experimental production of The Tempest that was developed in collaboration with Miracle Theatre Company realised as a distributed performance from two separate stages through a dynamically configured telepresence system. The production allowed an exploration of the way a range of technologies, including consumer grade broadband, cameras and projection technologies could affect the development and delivery of live theatre by regional touring company.The architecture of the communication platform used to deliver the performance is introduced as are two novel software tools that are used to describe and control the way the play should be captured and represented. The experimental production was thoroughly evaluated and the feedback from audience and theatre professionals is presented in some detail.A considered observation of the process and the way it differs from film, TV and theatre suggest that distributed theatre can be treated as a new genre of storytelling.

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Understanding audience participation in an interactive theater performance

Cited by 53 publications

References 25 publications

Co-present and remote audience experiences: intensity and cohesion

Co-present and remote audience experiences: intensity and cohesion

Distributed Liveness

A Distributed Theatre Experiment with Shakespeare

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