This is the continuation of a conversation on the Canadian theatrosphere started by Michael Wheeler from Praxis Theatre in Toronto. Read Round 1 here, Round 2 here, and Round 2.5: a Kris Joseph Intermezzo here.
It always amazes me that the people who should be pioneers in this new media landscape are the ones bashing it.
Each tool should be thought of as an extension of the work. Not a replacement for it. It’s a chance to extend the story and allow people an entry point.
Each of these tools offers the opportunity to put control in the hands of the artists. Maybe that’s the scary part.
Then if it fails, who’s to blame?
It’s easier to complain about the way the things are.
Perhaps harder to forge new ground. But I seem to remember the best moments onstage coming from embracing the fear.
If the storytellers don’t take advantage of this now. I fear they’ll get left behind wondering where it all went wrong.
That’s not good.
Posts like this are uplifting. It boils down to sharing the work.
Then people get excited about it. They share it.
Indie Artist Marketing Strategist Dave Charest, from the comments section of Round 2.5
I now know an enormous amount about theatre and what it means to be a theatre artist that I owe directly to my time spent out on the theatrosphere. It has provided an education that could fill a book (hmm…), never mind a blog post or two. I have a head full of practical theory that I am quite sure is taught in no academic theatre program in North America. Effective marketing. Resource management. Inclusive audience building. Critical perspective and perspective on the critics. Fundamental responsibility to the community. Diversity consideration. Creative fundraising. Nightly audience care. Cost vs. component. Realism vs. theatricality. (I could go on. And on.) Chapters all, and the book is continuously being written, post by post by comment by response. The blogosphere is nothing short of a revolution in resource accessibility, all that is required to navigate it is an open mind and the ability to parse opinion. I am incredulous as to why its growth here in Canada continues at a snail’s pace.
Does our theatre not want to evolve? Is it so bound up in the traditions and forms of the past that it feels its future has already been bought and guaranteed? Or worse, unconsidered? And in the face of evaporating funding and audiences? If there is an art form with a more blinkered sense of entitlement I can’t imagine what it could be. We need to unite as a progressive industry and nurture the neophytes or remain hobbyists, largely ignored by our communities. We need to ask each other for help. We need to make our proudly held opinions available to each other. We’re too quiet, we need to get loud. The internet is a mighty big megaphone.
I make such a pointed sales pitch for the theatrosphere here for a specific reason; to address the number one, all time, top reason I keep hearing from my peers for not becoming part of the conversation on-line. It isn’t that most theatreists don’t get it, or that they’re timid, or they think those of us that do it are weird. The top reason for the industry’s reluctance to blog is that they’re concerned about the time factor. That they don’t even have time to deal with the myriad of tasks that already sit on their plate. So the biggest roadblock standing in the way of a true ongoing national forum on theatre is the one thing that everyone on the planet – especially those running businesses – can get better at: time management. All I can say to that is this: as the forces aligning against us continue to strengthen, as funding diminishes and entertainment options grow, the everyone-for-themselves school of theatre business is no longer viable. Being a part of the discussion is no longer optional. You can do it. You need to do it. Theatre needs you to do it, it’s vital that we have a bigger virtual room in which we can strategize, disagree and share stuff, a space that we can ask for and offer assistance in. I say this from the perspective of a guy who has been immersed in it long enough to be able to report back on the power and effectiveness of the theatrosphere, someone who has no other agenda but to live to see nothing less than a rebirth of the particular brand of storytelling that he loves, and profit for its practitioners.
I am done bitching in bars. I am pushing my stakes on the table publicly, here and now, and I encourage my colleagues in theatre to do the same. Our stock-in-trade is dialogue. Let’s employ its power to discover the way forward towards a world class theatre in Seattle.
Paul Mullin’s introduction to his brand new blog Just Wrought
So here’s what I’m suggesting: open yourself a blog account. Choose a cool template. Start your first post by answering the question “what is the current state of my theatre industry?”. You’ll be amazed at what that will make you want to write about later. Then start a feed reader account and subscribe to some great theatre blogs to read over your morning coffee. (The sidebar on the right is a good place to start exploring.) And when you read something that resonates, comment on it, or even better, write about it and link to it. And keep writing about the stuff that moves you, that frustrates the hell out of you, that makes you crazy, people will find you and respond to you when you talk to them, I guarantee it. Reorganize your schedule so you have about 2 hours a week to spend on your blog and give it a shot, and start meeting other theatre types. You might be surprised at how thrilling connecting with people with like minds and problems can be. If you hate it, stop, by all means. But please go into the party with an open mind and carve out your own corner with your own voice.
I’m confident that once it’s proven its worth to you and your organization you’ll want to increase your social media presence. You can expand your reach and influence literally as far as you can imagine. In an ideal world, as Mike suggests in the last round of comments, our companies will have someone on staff to handle the social media/marketing of our brand and vision (Some of us already do), so that the directors can direct and the actors can act. We must move our process out of its little dark rooms and into the world where it can be seen, felt and explored. There is no time left for individualism in the selling of theatre art, we simply have too much work ahead of us. So please, open up and let us in.