Part of this tension arrives because we live in an era of participation. The audience, or the general public, is no longer just the consumer; they are now co-creators. We don’t buy albums anymore; we create our own playlists. We don’t watch TV passively anymore; we tweet our responses and vote. Anyone can make a film; you don’t even need film, just your phone. Anyone can compose music; just download an app or upload your song to YouTube. Anyone can write a novel and distribute it on the net, bypassing the traditional publisher.
This blurring of the border between consumer and creator unsettles many, for it signifies the destruction of the comfortable distinctions between professional and amateur. The very idea of ‘community’ is undergoing a seismic shift.
It’s difficult for theatre companies, in their present form, to effectively address this cultural trauma. At La Boite Theatre Company, over five years, I made some attempts, with modest success. The audience for our work were very young – around 45% under the age of 30, a genuinely startling statistic in an age of the so-called ‘aging audience’ – and they came not on subscription but because something caught their interest. They were also boisterous, enlivened by a democratised space and metatheatrical productions that gave the audience almost as much agency as the actors. Still, we only scratched the surface.
This new era of cultural democracy requires a new kind of cultural leadership. Our major cultural institutions are mightily challenged: they struggle to connect using older models and resist the radical reshaping that might lead to genuine engagement. Who will take the plunge? Who will be brave enough to start again?