February 6, 2013
by Natalie V. Hall
Natalie V. Hall. Photo by Jay Adeff
The common arguments against tweeting during performances are usually that it takes the patron out of the “present” and therefore diminishes the impact of the show and that it is disrespectful to the artists. Both of these arguments are valid, but more often than not the battle cries against integrating social media with performance seem to reek of fear: administrators shouting “TRADITION!” with index finger to the sky, beards shaking.
Audiences are sharing thoughts and images because they are excited about what they are experiencing and want everyone to know about it. Isn’t that exactly what we want to happen? Designating “tweet seats” has been controversial, but there are other alternatives. Why not promote intermission review contests with show-specific hashtags? Hold pre-show lectures or post-show discussions with live tweet-in questions? Institute a “first five minutes” rule, as you would with the press? If we can provide structured outlets for discussion and interaction while audiences are in our buildings and engaged, we can tap into something very powerful.
We also need to consider context. Standing in the back of the theater, I would be more concerned to see someone noodling around on a phone during a production of Hamlet than say, a Crosby Stills & Nash concert. This is not because Shakespeare Is A Sacred Experience (although it can be), it’s more because Shakespeare moves quickly and requires a certain level of attention that is too easily disrupted by tweeting “Person next to me thinks Pompey is the volcano, LOL”*. Or not. If you have an audience of students live-tweeting the assassination of Caesar, what might you discover?
When audiences come to us, particularly patrons who are young or new to more formalized arts participation, they are vulnerable. The experiences they have in our facilities can set the tone for future arts participation. By maintaining an air of outraged condescension regarding antiquated theater etiquette, we do not help our own cause. Refusal to adapt is not a brilliant strategy in the war to build audiences and ensure the future of the live performing arts. On an organizational level we should seek creative ways to harness and channel patron impulses, not squash them with tired pre-show announcements and angry ushers. Take a real look at your “audience guidelines” and try something new. Who knows? It might even be fun.
*Which I may or may not have done.
Natalie V. Hall is an arts administrator, educator, and advocate. She currently serves as the Marketing and Outreach Manager for a presenting facility in Carmel, California. Follow her @natalievhall and read her arts blog at www.natalievanessahall.com.
Tags: " social media and arts, "tweet seats, #2TweetorNot2Tweet, live-tweeting, Natalie Hall, Natalie V. Hall
That was a very well written and thought provoking article thank you. I personally feel that we live in a culture that to connect to an outsider rather than be able to have an experience solely for ourselves stems from the fear of not being liked. Most tweets are of value but wouldn’t it be better to do it away from the event and then tell your ‘friends.’ This way the event receives publicity which is always a good thing as word of mouth is incredible for marketing and the person tweeting can still feel they have formed some kind of connection with someone by sharing but can also value the gift they are bringing to themseves by being fully present and engaged on the performance. Win win for everyone
Thank you for your kind words and comments Julie!
We’ve found at the Douglas that we have more success encouraging people to tweet before and after or to create engagement activities that incorporate Social media rather than providing Tweet seats. Tweet seats tend to create a certain expectation that there will be a steady flow of content as a quid pro quo for the invitation to the show and, as a result, those in the seats feel a certain pressure to perform and often are not as engaged with the work. On the other hand, events and activities which have a social component but are still centered around the live experience tend to elongate the arc of engagement with the work and build an ongoing relationship with patrons. All that being said, the best engagement work is still focused on maximizing the human interactions that take place within the space – whether between staff & patrons, patrons & the art or amongst patrons- and on reinforcing the irreplaceable immediacy of the theatrical experience. Also- beware of hashtags- make sure you aren’t using one that is so general it could be taken by someone else- we had an issue w/a hashtag we chose to stream on the lobby monitor that was suddenly adopted by a different group of Tweeters who posted content that was not only unrelated to the show but totally inappropriate for our space. Good times!
Eric, as horrible as the hashtag situation must have been at the time, it is amazingly hilarious. And I totally agree – engagement in the right way at the right time is the most important part.
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Well written, thought provoking article. Well said Ms. Hall.
Thank you so much Linda!
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