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Encountering Shakespeare Elsewhere Digital Distribution, Audience Reception, and the Changing Value of Shakespeare in Performance

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Encountering Shakespeare Elsewhere Digital Distribution, Audience Reception, and the Changing Value of Shakespeare in Performance DOCTORAL THESIS Encountering Shakespeare elsewhere digital distribution, audience reception, and the changing value of Shakespeare in performance. Nicholas, Rachael Award date: 2020 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 Encountering Shakespeare Elsewhere: Digital Distribution, Audience Reception, and the Changing Value of Shakespeare in Performance Rachael Nicholas, BA (Hons), MA A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Drama, Theatre and Performance University of Roehampton 2019 The research for this project was submitted for ethics consideration under the reference DTP 17/026 in the Department of Drama, Theatre & Performance, and was approved under the procedures of the University of Roehampton’s Ethics Committee on 13.06.17. 1 Abstract Since the launch of National Theatre Live in 2009, digital distribution has made it possible for audiences to access theatre productions across a range of reception sites. Developing the critical conversation around theatre broadcasting, this thesis examines the reception of digitally distributed theatrical productions of Shakespeare at three sites of encounter: the cinema, the school, and online. Considering evidence gathered via audience research alongside critical scholarship from across academic disciplines, it provides new insight into where, how, and why twenty-first century audiences are experiencing, engaging with, and valuing Shakespeare in performance beyond the theatre auditorium. Chapter 1 draws on audience surveys undertaken at screenings of NT Live’s Macbeth (2018) at two different UK screening venues to explore how different venues determine the reception of cinema broadcasts. Chapter 2 examines the school as a site for encountering Shakespeare performance, basing its analysis on observations of two RSC Schools’ Broadcasts at two UK schools. Using the results of an online survey and interviews, Chapter 3 focuses on the reception of online broadcasts, considering how the fragmentation of reception across space and time influences the ways in which audiences participate with, and value, Shakespeare in performance. The way in which audiences experienced agency, hybridity, community and presence, as well as how they valued their encounters and Shakespeare, are explored as recurring themes across the thesis. I argue that experiences with digitally distributed theatre are multiple and diverse and are actively negotiated by audiences in relation to their specific contexts of reception. As well as 2 illuminating how and why audiences participate in broadcasts, I argue that such experiences should be considered as encounters with theatre and suggest that broadcasts offer an opportunity to fundamentally reconsider what might ‘count’ as a theatrical encounter in the twenty-first century. 3 Table of Contents List of Illustrations 5 List of Tables 6 Acknowledgements 7 Introduction - Encountering Shakespeare in Performance 10 The Broadcast Encounter: Theatre, the Digital, and Contexts of Reception 18 Valuing Shakespeare: Institutions, Audiences and Modes of Participation 28 Talking to the Theatre (Broadcast) Audience: Methodology and Research Design 35 Chapter 1 - Encountering Shakespeare in the Cinema: Audiences at Screening Venues 48 Shakespeare Cinema Broadcasts and the Audience 2009-2018: Issues and Debates 55 Industry Research and Reports 55 Academic Research and the Broadcast Audience 60 ‘A different kind of cultural site’: Screening venues and audience experience 84 The reception of NT Live’s Macbeth (2018) at two UK screening venues 91 Venue Profiles 95 Determining Value: Localness, ‘Quality’, and Shakespeare 106 Shaping Experience: Hybridity and Community 120 Conclusion: Transactional Encounters 140 Chapter 2 - Encounters in the Classroom: Shakespeare Broadcasts in Schools 146 Observing two RSC Schools’ Broadcasts 154 Twelfth Night at Sir Harry Smith Community College - 8th March 2018 157 Macbeth at Kensington Aldridge Academy - 26th April 2018 165 ‘This is not a chat, it is watching Macbeth’: Watching Shakespeare as Work and Leisure 170 ‘Can we fast-forward this?’: Exerting Agency and Controlling Attention 181 ‘Do you know how twitter works?’: Digital and Physical Communities of Reception 192 Conclusion: Teaching Shakespeare, Teaching Spectatorship, Teaching Value 209 Chapter 3 - Online Encounters: Streamed Shakespeare and the Audience 215 Methodology and Respondents 220 The Development of Online Shakespeare Broadcasts 2012 – 2017 224 Negotiating Time: Liveness and Beyond Liveness 239 Experiences of ‘Liveness’ Online 240 Managing Time: Catching-up, Pausing, and Partial Viewing 251 Negotiating Space: Co-presence and Community 260 ‘A public event consumed privately’: Spaces of Online Reception 262 ‘I don’t tend to feel connected […] unless I’m in the middle of it’: Presence and Co-presence 268 ‘That connectivity really is a gift’: Social Media and Community 276 Conclusion: Shakespeare’s Digital Value 285 Conclusion - A New Theatre History? 292 Bibliography 308 4 Secondary Sources 308 Reports 319 Web Resources 321 Curricula and Specifications 323 Appendices 325 Appendix 1: Screening Venues Audience Questionnaire 325 Appendix 2: Online Audiences Questionnaire 330 Appendix 3: Online Interview Invitation 346 Appendix 4: Online Interview Prompt Questions 347 Appendix 5: Online broadcasts of Shakespeare productions 2012-2017 348 5 List of Illustrations Figure 1: The Rio Cinema website homepage ................................................... 96 Figure 2: The Rio email newsletter.. ................................................................... 97 Figure 3: Exterior of the Rio Cinema. Google Maps screenshot. ....................... 97 Figure 4: Exterior of the Rio Cinema. Google Maps screenshot. ....................... 98 Figure 5: Interior of Farnham Maltings' communal area and entrance.. ........... 105 Figure 6: Exterior of Farnham Maltings ............................................................ 105 Figure 7: Farnham Maltings website.. .............................................................. 105 Figure 8: Map and table showing the location of Rio Cinema and its closest NT Live venues (based on data for All My Sons May 2019), as well as travel times to each location from the Rio. ........................................................................................ 109 Figure 9: Map and table showing the location of Farnham Maltings and its closest NT Live venues (based on data for All My Sons May 2019), as well as travel times to each location from the Maltings. ....................................................................... 110 Figure 10: Interior of the Rio auditorium. Photo: Rio Cinema website. ............. 124 Figure 11: Farnham Maltings' screening listings on their website .................... 125 Figure 12: Interior of Farnham Maltings' Great Hall.......................................... 124 Figure 13: The Rio Cinema's special events listed on their website.. ............... 125 Figure 14: Sarah Twomey as Fabia, Adrian Edmonson as Malvolio and John Hodgkinson as Sir Toby Belch in the 'gulling' scene of Twelfth Night (2017) dir. Christopher Luscombe. Photo by Manuel Harlan Ó RSC. ................................ 163 Figure 15: Michael Hodgson as the Porter, Christopher Eccleston as Macbeth and Niamh Cusack as Lady Macbeth in Macbeth (RSC, 2018). dir. Polly Findlay. The countdown clock can be seen at the top right. Photo by Richard Davenport Ó RSC. .......................................................................................................................... 170 Figure 16: An example of a tweet from a 'troll' or fake account set up for the broadcast. ......................................................................................................... 199 Figure 17: Niamh Cusack as Lady Macbeth and Michael Hodgson as the Porter, wearing his 'fresh creps', in Macbeth (RSC, 2018). .......................................... 200 Figure 18: A tweet from a student commenting on the use of music in Twelfth Night (RSC, 2017). ..................................................................................................... 202 6 Figure 19: The landing page for Cheek by Jowl’s livestream of Measure for Measure on Telegraph.co.uk; screenshot taken by the author, 22 April 2015. ................ 232 Figure 20: How online audiences communicated whilst watching. Data derived from Q14.. ................................................................................................................. 279 Figure 21: Cheek by Jowl's Périclès on YouTube. Screenshot taken by the author, 19 April 2018. .................................................................................................... 285 Figure 22: Cheek
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