Tony Sauro: "These days, William Shakespeare’s “all the world” is more than just a theatrical “stage.” It’s a drama. A film. A radio play. Twitter improvisation. A photo documentary. Live “streaming.” Video games."
Yasmin Morgan-Griffiths: "In an age which is increasingly defined by audience interactivity, many shows are aiming to give their audience more choice over what they are viewing. And you’d be hard pressed to find more choices in one show than in Choose Your Own Documentary."
Frank Rose: "One of the many fascinating things about Then She Fell is the way it resonates with the digital world we live in. An entirely no-tech production, it nonetheless manages to feel utterly contemporary in a time of video games and online media." ...
The Digital Rocking Chair's insight:
Forbes calls it "theater for the video game generation" ....
Michael Gallant: "Visit the website meetverastark.com and you’ll learn about one of America’s greatest actresses, a woman referred to as a teacher, singer, lover, civil rights activist, and femme fatale. [...] The only catch? Vera Stark isn’t real."
Yomi Ayeni: "I’m often asked what the interactive theatrical experience Clockwork Watch is, and the answer changes with each stage of the production. The underlying objective, though, is to create a fictional Victorian universe and tell a story where the narrative is delivered through live events, graphic novels, role-play, online news sites, and a feature film, all co-authored by the audience, through their interactions with our make-believe world over the next five years" ...
Joe Berkowitz: "It took DreamWorks years of work and countless decisions to translate “How to Train Your Dragon” into a live experience. The result is an achievement not just in pyrotechnics, but in collaboration and brand extension" ...
Liz Shannon Miller: "Whether you spell it "theatre" or "theater," any fan of classic or contemporary theatrical works ought to check out the full-length productions available through VOD site Digital Theatre."
Chaunton: "This week, we are hopping back across the pond to visit an American production of what has proven to be one of the most enduring and successful immersive theater experiences of the new millennium, Sleep No More."
Brian Herrera: "Developed over two decades in an array of coffee houses, theatre spaces, and radio stations in Austin, Texas, The Intergalactic Nemesis has evolved from an uncertain theatrical experiment to an epic, live-action, multimedia event—or, in the words of creator Jason Neulander, “independently-produced transmedia multiverse”—that has toured venues across the nation and the globe."
Melissa Laing tells us about her two year mission to explore and document performance arts ethics in NZ.
The Digital Rocking Chair's insight:
The Big Idea: "The result is a series of audio interviews with 23 practitioners, producers, curators and researchers across theatre, dance and visual arts which Melissa hopes is the start of a toolkit for performance professionals and emerging artists."
Krishna Stott: "Choose Your Own Documentary is a live performance of a documentary where the audience choose which way to take the story at numerous decision points – there are 1500 different outcomes…"
Kevin Holmes: "Felix Mortimer is a former member of Punchdrunk who has gone on to found RETZ with Simon Ryninks, and earlier this year the company performed an experimental version of Shakespeare’s The Tempest called O Brave New World, which took place over six months and across the physical and online worlds" ...
Teressa Iezzi: "Through Punchdrunk, Barrett has sought to create experiences that challenge audiences to physically interact with a narrative, and that push the idea of entertainment into a more primal place, where a show becomes a thing that happens to you because of decisions you make, not just something you watch passively."
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