Page 153 - AC/E's Digital Culture Annual Report 2015

AC/E Digital Culture Annual Report 2015153such as Realisations.net, which is linked to the Cirque du Soleil, have been pioneers in creating computer-generated 3D settings and are a reference in the sector as regards technological innovation.But the incorporation of technologies that help design shows such as those described above are nothing compared to the revolution the social networks are causing. In addition to boosting dissemination and marketing, they are sub- stantially modifying creators’ and institutions’ relationships with audiences, which is what the authors of Beyond the curtain. How digital media is reshaping theatre14 call “social media beyond the stage”.The social media make it possible not only to secure the loyalty of audiences who were already theatre goers but also help bridge the gap that exists between the performing arts and thenew generations. As with museums, the social networks make it possible to interact before, during and after the performance, lengthening the touch points and establishing more intense relationships with audiences – be it to debate on what they are watching through personalised commentaries, to consume additional informa- tion on the context of the work and author, or to access additional content (recordings, photos, etc.) after the performance.It is also necessary to consider the importance of the social media in strategies for marketing and selling shows. In this respect, a study on the impact of the Internet on the theatre carried out by the Society of London Theatre15 (Solt) high- lights how blogs and the social networks, especially Facebook and Twitter, are thechannels that most boost ticket sales, more than traditional advertising or written press reviews. 65% of those polled stated that the social media influenced their decision to go to the theatre.Theatres have furthermore found new sourcesof income by selling their performances online. The Shakespeare Globe Theatre in London is one of the pioneers in making more than fifty of its performances available to the public through its website, enriched with additional material such as interviews with the actors, etc., who can purchase them by streaming or by downloading them for different prices – a formula for reach- ing new audiences.Professionals must be preparedto provide a response to the new functions that are required, by adapting their skills and retraining.Finally, we should not forget the rise in crowdsourcing, which might be defined as “mass collaboration or outsourcing”, thathas been adopted by a few organisations as a means of “reducing costs, ensuring profits and coming closer to customers”. This technology has provided the performing arts with a way of being more participatory and open. The 2014 AC/E Digital Culture Annual Report lists a good many initiatives and projects that “arise precisely from the material contributed by the publicthat becomes part of the historical heritage” .16 These new models offer major opportunities for organisations but require innovation in processes and skills.Pepe Cerezo