Theatre, Social Media, and Meaning Making

This book offers the first broad-based survey of the way artists, audiences and society at large are making use of social media, and how the emergence of social media platforms that allow two-way interaction between these groups has been held up as a 'game changer' by many in the theatre industry. The first book to analyse aesthetic, critical, audience development, marketing and assessment uptake of social media in the theatre industry in an integrated fashion, Theatre, Social Media and Meaning Making examines examples from the USA, UK, Europe and Australasia to provide a snapshot of this emerging niche within networked, telematic, immersive and participatory theatre production and reception practices. A vital new resource for the field, this book will appeal to scholars, students, and industry practitioners alike.

Explores how social media has changed the theatre industry over the last five year Brings together examples from the USA, UK, Europe and Australasia Provides a broad-ranging survey of how social media is used to produce, disseminate, document, critique and assess work Includes supplementary material: sn.pub/extras

Autorentext

Bree Hadley is Associate Professor in Performance Studies at Queensland University of Technology in Brisbane, Australia. Her research investigating the performance of identity in contemporary, pop cultural and public space performance has appeared in Disability, Public Space Performance and Spectatorship: Unconscious Performers (Palgrave Macmillan 2014), and in journals such as Performance Research, About Performance, and Liminalities: A Journal of Performance Studies.

Inhalt
List of Figures.- Acknowledgements.- 1. Introduction,- 2. Social Media: Platforms, Networks and Influences.- 3. Social Media as Theatre Stage: Aesthetics, Affordances and Interactivities.- 4. Social Media as Critical Stage: Controversy, Debate and Democracy.- 5. Social Media as Cultural Stage: Co-Creation, Audience Collaboration, and the Construction of Theatre Cultures.- 6. Conclusion.- References.