Advertisement

Introduction

  • Bree HadleyEmail author
Chapter

Abstract

This chapter introduces Theatre, Social Media and Meaning Making by investigating the reasons why the uptake of social media technologies in the theatre has been held up as a game changer by many in the theatre industry. It sets the scene for the broad-ranging investigation of the ways in which social media technologies are being used to produce, document, disseminate, critique, assess and make meaning of theatrical performances in the chapters to come.

References

  1. Adorno, Theodor, and Max Horkheimer. 1944/2002. Dialectic of Enlightenment. California: Stanford University Press.Google Scholar
  2. Albarran, Alan B. (ed.). 2013. The Social Media Industries. London: Routledge.Google Scholar
  3. Anderson, Eric. 2010. Social Media Marketing: Game Theory and the Emergence of Collaboration. Portland: Springer.CrossRefGoogle Scholar
  4. Balme, Christoper. 2014. The Theatrical Public Sphere. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  5. Baym, Nancy. 2010. Personal Connections in the Digital Age. Cambridge: Polity Press.Google Scholar
  6. Becker, Leo B. and Klaus B. Schoenbach. 1989. When Media Content Diversifies: Anticipating Audience Behaviour. In Audience Responses to Media Diversification: Coping with Plenty, ed. Leo B. Becker and Klaus B. Schoenbach, 1–27. Hillsdale: Lawrence Erlbaum Associates.Google Scholar
  7. Bell, David. 2001. An Introduction to Cybercultures. London: Routledge.Google Scholar
  8. Bennett, Susan. 1997. Theatre Audiences: A Theory of Production an Reception, 2nd ed. London: Routledge.Google Scholar
  9. Berger, Christopher. 2012. The Social Media Strategists: Build a Successful Program from the Inside Out. Boston: McGraw-Hill.Google Scholar
  10. Blaike, Bill. 2014. Theatre and the Digital. London: Palgrave Macmillan.CrossRefGoogle Scholar
  11. Blake, Elissa. 2010. Geeks, Tweets and Bums on Seats: How Social Media Is Shaping the Arts in Australia. The Sydney Morning Herald. July 10, 2010. http://www.smh.com/au/entertainment/theatre/geeks-tweets-and-bums-on-seats-20100709-103g8.html. Accessed 9 Aug 2013.
  12. Bolter, Jay David, and Richard Grusin. 2000. Remediation: Understanding New Media. Cambridge: MIT Press.Google Scholar
  13. Bravo, Britt. 2009. 5 Ways Theatres Can Use Social Media. Cultural Entrepreneurship Blog. Global Centre for Cultural Entrepreneurship, 10 August 2009. http://culturalentrepreneur.org/blog/5-ways-theatres-can-use-social-media. Accessed 5 Aug 2013.
  14. Broadhurst, Susan. 2006/2011. Performance and Technology: Practices of Virtual Embodiment and Interactivity. London: Palgrave Macmillan.Google Scholar
  15. Broadhurst, Susan. 2007/2011. Digital Practices: Aesthetic and Neuroesthetic Approaches to Performance and Technology. London: Palgrave Macmillan.Google Scholar
  16. Brogan, Chris. 2010. Social Media 101: Tactics and Tips to Develop Your Business Online. Hoboken: Wiley.CrossRefGoogle Scholar
  17. Brown, Ismene. 2013. Only the Artists Can Save the Arts Critics. Culture Professionals Network. The Guardian, 2 August 2013. http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2013/aug/02/only-artists-can-save-critics. Accessed 7 Jan 2015.
  18. Bruns, Axel. 2006. Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. New York: Peter Lang.Google Scholar
  19. Butsch, Richard. 2008. The Citizen Audience: Crowds, Publics and Individuals. London: Routledge.Google Scholar
  20. Carson, Christie. 2014. Creating a Model for the Twenty-First Century. In Shakespeare and the Digital World: Redefining Scholarship and Practice, ed. Christie Carson and Peter Kirwan, 226–237. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  21. Conner, Lynne. 2013. Audience Engagement and the Role of Arts Talk in the Digital Era. London: Palgrave Macmillan.CrossRefGoogle Scholar
  22. Crittenden, Stephen. 2012. Now Everyone Really Is a Critic. Global Mail, 6 February 2012.http://www.theglobalmail.org/feature/now-everyone-really-is-a-critic/23/. Accessed 3 Feb 2015.
  23. Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge: MIT Press.Google Scholar
  24. Dowling, John. 2001. Radical Media: Rebellious Communication and Social Movements. Thousand Oaks: Sage.Google Scholar
  25. Evans, Elizabeth. 2011. Transmedia Television: Audiences, New Media and Daily Life. London: Routledge.Google Scholar
  26. Giannachi, Gabriella. 2004. Virtual Theatres: An Introduction. London: Routledge.Google Scholar
  27. Gray, Jonathan. 2010. Social Media Roundtable: Open Forum and the Library of Congress. Hyperallergic, Facebook, 16 April 2010. http://www.facebook.com/topic.php?uid=90675054811&topic=13770. Accessed 19 Aug 2013.
  28. Gray, Jonathan. 2011. Following Piece 2.0—Day Four, Bungy Notes, 30 October 2009. http://bungynotes.blogspot.com/2009/10/following-piece-20-day-four.html. Accessed 19 Aug 2013.
  29. Gray, Jonathan. 2012. Web 2.0 and Collaborative On-Line Performance. Text and Performance Quarterly 32 (1): 65–72.CrossRefGoogle Scholar
  30. Handley, Ann, and C.C. Chapman. 2012. Content Rules: How to Create Killer Blogs, Podcasts, Videos, eBooks, Webinars. Hoboken: Wiley.Google Scholar
  31. Hope, Cat, and John Ryan. 2014. Digital Arts: An Introduction to New Media. New York: Bloomsbury.Google Scholar
  32. Kerpen, Dave. 2011. Likeable Social Media: How to Delight Your Customers, Create an Irresistible Brand, and Be Generally Amazing on Facebook (and Other Social Networks). New York: McGraw-Hill.Google Scholar
  33. Kociemba, David. 2010. “This Isn’t Something I Can Fake”: Reactions to Glee’s Representations of Disability. Transformative Works and Cultures, 5.http://journal.transformativeworks.org/index.php/twc/article/viewArticle/225/185. Accessed 19 Aug 2013.
  34. Lewis, Justin. 1991. The Ideological Octopus: An Exploration of Television and its Audience. New York, NY: Routledge.Google Scholar
  35. Lonergan, Patrick. 2016. Theatre & Social Media. London: Palgrave Macmillan.CrossRefGoogle Scholar
  36. Lovett, John. 2011. Social Media Metrics Secrets. Hoboken, NJ: Wiley.Google Scholar
  37. Mackrell, Judith. 2012. Dancing with the Digits. The Sydney Morning Herald, 2 August 2012. http:///www.smh.com.au/digital-life-news/dancing-with-the-digits-20120802-23hrt.html. Accessed 19 Aug 2013.
  38. Mandell, Jonathan. 2013. Social Media on Stage: Theater Meets Twitter, Facebook, Youtube, Tumbler, Soundcloud. New York Theater, 3 January 2013. http://newyorktheater.me/2013/01/03/social-media-on-stage-theater-meets-twitterfacebookyoutube-tumbler-soundcloud/. Accessed 27 Nov 2014.
  39. McLuhan, Marshall. 2001/1968. Understanding Media: The Extensions of Man. London: Routledge.Google Scholar
  40. O’Neill, Stephen. 2014. Shakespeare and YouTube: New Media Forms of the Bard. London: Bloomsbury.CrossRefGoogle Scholar
  41. O’Reilly, Tim. 2005. What is Web 2.0: Design Patterns and Business Models for the Next Generation of Software. Sebastapol: O’Reilly Media. http://oreilly.com/web2/archive/what-is-web-20.html. Accessed 19 Nov 2012.
  42. Page, Ruth. 2012. Stories and Social Media: Identities and Interaction. London: Routledge.Google Scholar
  43. Papagiannouli, Christina. 2014. Political Cyberformance: The Etheatre Project. London: Palgrave Macmillan.Google Scholar
  44. Parmelee, John H., and Shannon L. Bichard. 2012. Politics and the Twitter Revolution: How Tweets Influence the Relationship Between Political Leaders and the Public. Lanham: Lexington Books.Google Scholar
  45. Pérez-Latre, Francisco. 2013. The Paradoxes of Social Media: A Review of Theoretical Issues. In The Social Media Industries, ed. Alan B. Albarran, 46–59. London: Routledge.Google Scholar
  46. Rumbold, Kate. 2010. From “Access” to “Creativity”: Shakespeare Institutions, New Media, and the Language of Cultural Value. Shakespeare Quarterly 61 (3): 313–336. http://muse.jhu.edu/journals/shq/summary/v061/61.3.rumbold.html. Accessed 22 Aug 2013.
  47. Sant, Toni. 2008. A Second Life for Online Performance: Understanding Present Developments through an Historical Context. International Journal of Performance Arts and Digital Media 4 (1): 69–79.CrossRefGoogle Scholar
  48. Sant, Toni. 2009. Performance in Second Life: Some Possibilities for Learning and Teaching. In Learning and Teaching in the Virtual World of Second Life, ed. Judith Molka-Sanielsen, and Mats Deutschmann, 145–166. Trondheim: Tapir Academic Press.Google Scholar
  49. Sant, Toni. 2013. Theatrical Performance on the Internet: How Far Have We Come Since Hamnet? International Journal of Performance Arts and Digital Media 9 (2): 247–259.CrossRefGoogle Scholar
  50. Sant, Toni. 2014. Art, Performance, and Social Media. In Routledge Handbook of Social Media, ed. Jeremy Hunsinger, and Theresa M. Senft, 45–58. London: Routledge.Google Scholar
  51. Trottier, Daniel. 2012. Social Media as Surveillance: Rethinking Visibility in a Converging World. Abingdon: Ashgate Publishing Group.Google Scholar
  52. Trueman, Matt. 2012. Noises Off: Will Social Media Change the Face of Theatre. Theatre Blog. The Guardian, 16 April 2012. http://www.guardian.co.uk/stage/theatreblog/2012/apr/26/noises-off-social-media-theatre. Accessed 27 Nov 2014.
  53. Vargas, Vivianna. 2014. The Big Merge: Internet and Theatre. HowlRound, 14 September 2014. https://dramalit.wordpress.com/2014/09/14/the-big-merge-internet-and-theatre/. Accessed 28 Nov 2014.
  54. Way, Geoffrey. 2011. Social Shakespeare: Romeo and Juliet, Social Media, and Performance. Journal of Narrative Theory 41 (3): 401–420.CrossRefGoogle Scholar
  55. Weidner, Ashley. 2009. Social Media in Theatre. TheatrePeople.com, 9 August 2011. http://theatrepeople.com.au/features/social-media-theatre. Accessed 29 Nov 2014.
  56. Worthen, William B. 2014. Shakespeare Performance Studies. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  57. Zarella, Dan. 2010. The Social Media Marketing Book. Sebastapol: O’Reilly Media.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.Queensland University of TechnologyBrisbaneAustralia

Personalised recommendations