What have we learned from a year of remote theatre?

Despite a year of empty auditoriums, the past twelve months have seen an explosion of innovation within the realm of theatre. The notion of what a play is, or has the potential to be, has been radically questioned. After a year of experimentation, largely online, not only has a lot been learned in terms of how performance can be brought into the future, but also how much there is left to discover within the field. As the prospect of ‘in-person’ performance continues to feel distant, it seems worthy to reflect on what the past year has unearthed, and what lessons can be implemented going forward.

Recent discourse in the theatre community has frequently circled back to the idea of definition - can a streamed, archived production or zoom play be considered comparable to the likes of a production of Howard Pinter in the Gate? This particular framing of validity on the basis of exclusion is common, but not always productive. That is not to say, however, that the inherent differences between in-person performance and a play staged on an online platform cannot be ignored. In a way similar to film, pre-recorded or streamed shows rarely allow for the same suspension of belief that in-person theatre does. It takes more effort to translate the feeling of unity that is derived from sitting beside strangers in the dress circle to solitary home viewing – with many valiant but infrequently fruitful attempts. This is not to say that the remote experience should be framed as less than, or beyond the bounds of what is conceivably theatre. The last year has reaffirmed the age old adage that ‘the show must go on,’ and in the midst of the clunky process of configuring the physical art form to a socially-distanced world many exciting possibilities have emerged. While the prospect of returning to the traditional theatre space is as exciting as it is enticing, it is theatre’s duty to engage and react to the present. Remote theatre is at its best when it's not trying to be filler in the socially distant liminal space or signpost towards a point when ‘things are back to normal.’ Acceptance of the times does not have to be a restriction to theatrical practice. Instead, they can inform, and elevate what current theatre can be. In this vein, the wheel doesn’t have to be re-invented, but some roles do need to be recontextualised to fit present media. Practice across the board has had to shift, which is a process theatre makers are still figuring out. While eagerly looking towards the opportunity to jump back into the rehearsal room, it is important to look at what roles have remained somewhat intact despite the circumstances.

The participatory role of the audience member is one that does not need to be severely impacted by current circumstances. Despite this, the active role has been neglected by many remote pieces – the transposition of the stage to screen shifts onlookers from active attendants to distant spectators. As we progress with governmental restrictions in mind, this does not have to be the case. Going forward, the role of the audience member should be central to the intended piece. Traditional theatre arrangements create a clear contact between spectator and performer; the audience member knows that at the very least they will have to buy their ticket, sit down in a dark room next to others, turn off their phone, and watch the curtain rise and fall giving them specific cues to participate. These elements of the theatrical experience may seem innocuous, but they form the parameters which bookend a performance. While mundane, instructions such as turning off phones or turning off lights may be helpful in injecting an added tangible level of theatricality to the remote experience. What is exciting about the prospect of remote theatre is that it does not need to be confined to the predetermined location of the piece. The audience can be instructed to go on a walk for the course of the piece, to wear a particular article of clothing, or to bring specific household items to a zoom call. These are a mere selection of the possibilities that current times present. As we continue to make and consume theatre at a distance, it is vital to remember that attention is currency, and even harder to be won without the supports we are used to relying on. This is undeniably frustrating for makers and audience members alike. In order to combat this, the ability to take frequent breaks for longer shows or streams, or shorter run times for conventional and linear productions seem like the most practical and appropriate move. Another method that is currently becoming more prominent is reshuffling the structure and means of storytelling in a theatrical setting. Perhaps the story could be drip fed via email over a number of days, or is encased in an envelope that comes through your door. Structure in terms of start times, streams and liveness is important and comforting, adding another level of formality that has been lost in some remote productions. The fragile nature of theatre is something to be remembered and revered, that it is the art of reliance and balance before anything else. It is important that we trust both in the process and in the outcome. While remote theatre may not always feel as gratifying as an immersive, physical production, it is crucial to remember that it is still an attempt at reaching out, communicating a human story, and bridging the gap between people during a time when we need it most.

The necessary vulnerability and compassion needed to continue to extend humanity in this way is immense, and it is important for audience members to consider this while interacting with pandemic performances. As we mark the anniversary of the difficult year we have endured, it is important to note that such seismic shifts remind us why theatre is important. It is unquestionable that the past year has further confirmed the resilience of makers and spectators alike, and as we continue to ride the wave and strive to tell stories in spite of these trying times, we must not forget the tumultuous and impressive history of theatre that is supporting us, and the brighter and tactile future ahead.