I’d like to propose a conversation about using technology in the performing arts classroom, especially in relationship to playwriting and collaborative work. I recently taught a hybrid section of first-year writing and spent the semester looking for ways to create  lessons that were more than just online versions of what we did in class; the real challenge was finding lessons that made the online classroom the ideal environment rather than just the one we were given. I’m teaching a playwriting class in the fall and want to find ways to make online work relevant and engaging.

For centuries, the conventional definition of theatre has been of an event occurring in real time in front of a live audience in a physical space. In the last decade alone, there have been hundreds of examples that have put that categorization to the test (one example: www.digitaltheatre.com).  With the rapid advance of technology, theatre has a responsibility to embrace this (r)evolution or ultimately fall further by the wayside. How can we utilize these advances, both artistically and administratively, to transform the theatrical landscape so we can further investigate, innovate and interact with fellow artists across the globe?

Until recently, theatre hasn’t been able to avoid creating sleep-inducing footage when it’s recorded or digitized. It somehow loses its spirit as fast as the present becomes the past; leaving one with the same feeling one has when they stopped being in love. Where does the spirit go? How can that magic remain? How can we keep it interesting for everyone, not just academics and researchers? Is it just a document of a past event, or can we find a way for it to be a living, breathing experience?

Two of the barriers to providing access to special collections (including performing arts documentation) are time and descriptive metadata. Librarians are often short on the time and resources necessary to properly describe and make available special collections. Additionally, specialized knowledge often lies with the content creators.

I have recently had the opportunity to investigate alternatives to traditional
indexes and collaborative cataloging for special collections. Amy Ballmer (CUNY
Graduate Center) and I explored alternative methods of indexing (including
collaborative tagging with art historians) for small press and avant-garde
journals a recent article in Art Documentation. During my work at ARTstor, I’ve also had the opportunity to learn from some different use cases for collaborative cataloging across campuses. For example, Vickie O’Riordan at UC San Diego has partnered with Roger Reynolds to make his innovative intermedia work, PING available to faculty and staff on campus via Shared Shelf.

I would love to hear more about what ideas librarians might have for
collaborative cataloging practices with faculty and students and what they’re
currently doing on their campuses.