![]() While I am still not fluent in Shakespearean English, I was able to hear and read every single word in the play, thanks to careful sound editing and caption work. I realized very quickly how long I had missed such a feature. Working in great tandem with the ability to listen to the show with headphones and control its volume, I took Intime’s pre-show suggestion to enable closed captioning on the YouTube video. The accessible quality of this show which I most enjoyed, though, was the flawless closed captioning. There was no need to squeeze into the traditional seating of Hamilton Murray Theater, nor a need to work around it. In terms of physical accessibility, this show was bring-your-own-seat, whether it be a chair, couch, or bed. The real victory of this production, however, was in terms of theater accessibility. This lent an aura of excitement and history to the production which, in person, may have been limited to conversations after the show. I was surprised when a few Princeton (and Theatre Intime) alumni identified themselves in the live chat. Audience members reacted to specific moments in the production, commented on lines of dialogue, and related elements of this Shakespeare play to other works of media. Viewers were free not only to express individual responses and opinions, but they could do so with names displayed. solo laughter, comments from one audience member to another) and are often reserved for intermission, or after the show.įascinatingly, the YouTube Premiere format facilitated this mode of individual expression. A flip side to this phenomenon is a limitation of democracy individual opinions and expressions may feel inappropriate (e.g. Actors may feed off of these overt reactions, but they can also feed on the continuous possibility of them the silent body of watchers manifest a mass investment in the fictional, ephemeral world on stage. When a crowd laughs together at a comedic moment, or gasps at a death or betrayal, both the performers and viewers exalt in the collective consciousness of the audience. ![]() I have long desired, mostly as a pipe dream, for a means of silent participation with theater - one which runs parallel to, or underneath, the primary experience on stage. This chat function was silent and totally optional, but many viewers made use of it throughout the play’s one-hour-and-37-minute runtime. However, one could re-synchronize their video with the Premiere’s start time in order to see the production “live,” as well as to share the Premiere with fellow audience members via a live chat. While the Premiere could be paused and rewound, audience members could not skip ahead in the play.
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