Ediitorial: While some feel that allowing live performances to be photographed or filmed adds to the buzz, others hate it
theatre, the question of how audiences should behave during live performances has been burrowing its way into the heart of the cultural establishment. It has now popped its head up in the classical music world, where it is not about sprayed beer and dancing in the aisles, but phone etiquette at concerts.
The debate was sparked when the tenor Ian Bostridge halted a recital in Birmingham because he was being distracted by people recording him. He later discovered that he was out of line with policy at the Symphony Hall, home to the City of Birmingham Symphony Orchestra , whichto take photographs and short video clips.
On the audience side, the pro-mobile argument rests substantially on the belief that they are part of the lifestyle of young people, who are allowed to use them at other cultural events. In live comedy, however, there is a general understanding that it is in nobody’s interest for jokes to go viral before the end of a run.
A cautionary tale of the extremes to which unfettered licence can lead was demonstrated by a report that the Louvre is consideringto its own room to accommodate the hordes of visitors wanting to take selfies in front of it. For years they have made it impossible to enjoy of one of the world’s most famous paintings.
It is in nobody’s interest for classical concerts to become extended selfie sessions, where the right to record trumps the entitlement to listen and watch in real time. That is the whole point of live performance. But phones are not going away, and the viral energy they generate has a role to play in the marketing strategies of ambitious cultural venues.
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