Thea: Speaking specifically in regard to my own experience, I would say, no knowledge is wasted knowledge - so there is no way that this process won’t continue to reverberate. I was forced to try things I never would have imagined…. And this will widen my scope moving forward. But if I’m honest as well, like so many of us, the desire for gathering together still remains the preferred modality. But perhaps some of the affordances that the digital and the filmed brought in terms of focus, and in terms of time, will be things to consider incorporating and thinking with as I trace my way back to the work, other work and new work.  I believe generally, people want to be with people in a room, tasting, sensing that ineffable thing that shared space and attention brings, the particular affect of many individuals making up the varied, yet also gathered, energetic field of this thing we call audience. 

What I think we might see is more contexts where it is both live and mediated - an in-house audience and a distanced audience. The pandemic has created this unique situation where work that would never have been accessible to some, or many, now is - in terms of geography, and both financial and physical accessibility (with many shows, it seems, offering varying degrees of sliding scales).

Of course, the issue of which medium are you creating for then comes to the fore, live vs. distanced….as they are certainly different… and up till now, in my experience, simply seeing stage shows simply filmed for online from a fixed camera position with maybe two camera’s trading off a near and a far shot, during a “live “ performance, usually falls short because they are being often approached as if the stage version and a filmed version can fit into one mode of capture. But one size does not fit all. This includes from how the camera needs to become another agent in the piece, and be attended to as such in the process, not just stuck on at the end, to how the lights function, ( i.e. lights for say a blackbox live performance do not always translate well to a filmed version). So, then the question becomes around time, labour, money etc.: will we now expect artists to conceive their work for both the live and mediated in a way that allows for the needs of each approach without allowing the resources to achieve this?  Or do we simply concede that if you put the energy into one format the other will be, for lack of a better term, a lesser version? 

I think I veered off the question — but these have been some of my thoughts more generally, about the practical reality of integrating these new formats moving forward.