Mobile Culture - Digital Theatre
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Transcript of Mobile Culture - Digital Theatre
![Page 1: Mobile Culture - Digital Theatre](https://reader033.fdocuments.in/reader033/viewer/2022051412/54bdacc24a79594e578b456e/html5/thumbnails/1.jpg)
Building a bigger stage
Robert Delamere - Co-Founder / CEO
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Launched in October
2009
Working in conjunction
with Britain’s leading
theatre companies
Capturing performance in
high definition from
multiple angles
Distributed as downloads
around the globe
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Theatre is a 5000-year-old
art form - it was and
continues to be a
communal experience
People crave and seek
out high quality
experiences, that is
absolutely key
We use film language to
capture theatrical
expression, this moulds
theatre and means we are
a hybrid art form
David Suchet and Zoë Wanamaker star in the
multi award-winning revival of Arthur Miller’s All My
Sons
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“Capturing the alchemy of live performance is an
enormous challenge. Digital Theatre set about it with
a care and sensitivity that produces excellent results,
and hopefully can open up the art form to ever
increasing audiences.”
Ian Rickson, director of Parlour Song
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We ‘capture’ productions,
iso-recording multiple
performances
Films are sound-mixed,
graded and then encoded
for ease of access
They then become
available to rent or
download online through
our website
English Touring Theatre’s production of
Thomas Hardy’s Far From the Madding Crowd
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We work with directors,
creatives and writers to
ensure that our films of
the original stage
production follow their
creative intentions
All participants are
contracted and rewarded
on union approved deals
Catherine Tate and David Tennant reunited on
stage in the sell-out production of Much Ado About
Nothing
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Digital Theatre works with
Britain’s leading theatre
companies
Our theatre partners:
Unicorn Theatre
Frantic Assembly
Royal Exchange Theatre
Royal Court
Regent’s Park Open Air Theatre
Gate Theatre, Notting Hill
Bush Theatre
Sonia Friedman Productions
Royal Shakespeare Company
Liverpool Everyman and Playhouse
English Touring Theatre
Young Vic
Almeida Theatre
Stanhope Productions
Frantic Assembly and Abi Morgan’s tale of past
and present lives intertwining and colliding,
Lovesong
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When Digital Theatre
launched, our productions
could only be watched
through downloading the
Digital Theatre Player to
the desktop
There is now an audience
expectation that content is
universally available
This causes both
technological and rights
considerations
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It has been imperative that
we are a technology and
content business to be
able to react to this
Through our integrated
model we are able to
respond to changing
customer demands
We can also position our
content to be exploited in
different markets such as
Digital Theatre Plus
Harry and Luke Treadaway star in Mark
Ravenhill’s play about reunited twins, Over There
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Screen size has always
been a question of taste
and technology
The best screen you have
is the one you have with
you
If you put aside the
consumption device then
the quality of the content
is the audience’s key
decision factor
Clare Bayley’s Amnesty Freedom of Expression
Award-winning play The Container
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Previously we’ve used
and seen mobile devices
as informational, just as a
marketing tool
That has fundamentally
changed as devices have
emerged and matured -
you can now consume
content on the go
The iPad is a consumption
device for immersion in
culture
Kathryn Hunter portrays Peter the Ape in the
Young Vic production of Kafka's Monkey
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Audiences also want to
plan consuming content
when they think they’ll
have the best experience
That is why, launching this
month, we’ve created an
IPTV app on Samsung
Smart TVs
We get closer to
replicating the communal
theatre experience which
people cluster around
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Digital Theatre seeks to
export great British culture
We have global appeal
and a great British product
Audiences are enjoying
our productions from Paris
to El Paso, Texas and
from Melbourne to Ho Chi
Minh City Richard Katz as Touchstone in Michael Boyd’s
RSC production of As You Like It
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“We're always looking for ways to bring our work to
the largest possible number of people. And the
potential of digital technology to connect with a
worldwide audience is genuinely exciting.”
Dominic Cooke, Artistic Director of the Royal Court
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Capturing theatre as we
do has only been possible
through advances in
camera technology
Distribution direct to
audiences has been
enabled by the internet
Audiences can now watch
British theatre around the
world on their connected
TV or in the palm of their
hand
Jez Butterworth’s Parlour Song starring Toby
Jones, Andrew Lincoln and Amanda Drew
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TV, film and music have
all gone through a process
of disruption and
digitisation
We believe there is a
quality of writing, richness
of theatrical talent and
world-class production
expertise in the UK which
deserves the same global
audience
However, it all hinges on
the quality of the work
Told By An Idiot and the RSC reimagine
Shakespeare’s The Comedy of Errors for a
younger audience
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“There needs to be revolutionising of the capture of
live theatre, and we are enjoying the pursuit of that
ambition with Digital Theatre.”
Michael Boyd, Artistic Director of the RSC
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Theatre has been
recorded on film for
generations in different
ways
There is a wealth of
quality theatre content
available which is not
being offered to audiences
Digital Theatre is in a
position to aggregate this
quality content and offer it
to our audience
The Unicorn Theatre and Tony Graham’s
production of Michael Morpurgo’s Billy The Kid
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Theatre is an ephemeral
artform - this is a
fundamental part part of
its appeal
Digital Theatre capture
performance with minimal
interruption or influence
on the performance
We capture a fleeting,
creative moment in time
and give it the opportunity
to be viewed in a global
auditorium
David Morrissey returns to his native Liverpool to
deliver his Macbeth at the city’s Everyman Theatre
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YouTube trailers viewed
over 200,000 times
Individual films selling
over 10,000 copies
Audiences in 155
countries across 6
continents
Platforms allow us to
access culture hungry
global market
The Open Air Theatre’s Olivier Award-winning
revival of Stephen Sondheim’s Into the Woods
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“Digital Theatre has found the formula to
successfully film theatre of the highest quality,
providing a fulfilling experience for those
theatregoers unable to attend live performances.
The films will be treasured by companies for many
years after their productions close and hopefully
enjoyed by audiences around the world for decades
to come.”
Kim Poster, producer of All My Sons
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Visit us at digitaltheatre.com
twitter.com/digitaltheatre
facebook.com/digitaltheatre