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剧院都关门了,但这份戏剧杂志仍然很忙

剧院都关门了,但这份戏剧杂志仍然很忙

Rachel King 2020年06月25日
《财富》采访了Playbill的首席数字官亚历克斯·博什。

虽然在可以预见的未来,百老汇的剧院还不会开放,现场演出也不会重启,但戏剧杂志Playbill今夏的工作日程仍然排的是满满当当。

近期,《财富》杂志采访了Playbill的首席数字官亚历克斯·博什,询问了疫情对舞台制作周边业务的影响,以及在社交疏离的背景下,我们对未来现场演出的期待。

Playbill的首席数字官亚历克斯·博什。图片来源:Marc J. Franklin

为简明起见,以下采访内容有所删改。

《财富》:你是什么时候发现新冠疫情影响到了你在Playbill的工作?

在2月中旬时,我就隐约察觉今年春天可能会不一样,只是很难想象究竟会出现什么情况,毕竟我们都从未遇到过规模如此大的疫情。后来,爵士与雷霆的比赛也因为有球员新冠检测呈阳性而取消,这就越发表明这次的情况跟以往截然不同。当时的场面非常少见,裁判冲入场中,宣布比赛取消并要求所有人立刻回家,就像电影中的场景一样,令人难以置信。

那一刻,我立刻就想到,百老汇可能很快也会受到巨大影响。不过,我觉得没有人知道这种影响会持续多长时间。那场比赛取消后, NBA宣布赛季暂停,不久,百老汇也宣布暂停演出。

在可预见的将来,百老汇以及几乎所有其他地方的全部秀场、戏剧和音乐剧演出都将处于停摆状态。现场演出都停了,Playbill是如何维持自身业务运转的?你们与观众的互动如何?有没有采取些特别措施来为停业的演员和剧务工作人员提供支持?

Playbill原名Playbill On-Line,是我父亲在20世纪90年代中期创办的,自创办以来,Playbill一直是覆盖最广泛、更新最及时的线上戏剧媒体。我们发布的文章包括剧院介绍及其相关新闻。除此之外,我们还创办了Playbill Vault数字图书馆,在这里你可以找到与百老汇所有作品有关的各种实用信息,无论它是过去的剧目还是正在上演的剧目。我们网站上有一个“工作”版块,想要从事戏剧行业的人士可以在这里查看相关的工作机会,我们还有一个名为PLAYBILLder的专门网站,用户能够在这里制作自己的节目单。我们社交媒体上的粉丝也非常多,各主要平台上的粉丝总数已经超过150万。

“Playbill原名Playbill On-Line,是我父亲在20世纪90年代中期创办的。自创办以来,Playbill一直是覆盖最广泛、更新最及时的线上戏剧媒体。”博什说。图片来源:Courtesy of Playbill

当有人问我什么业务增长最快时,我都是回答:“Instagram”。我们之前就已经进入了内容创作领域,既包括流媒体直播,也包括音乐剧和戏剧录播,比如骄傲戏剧(Pride Plays)、Playbill Pride Spectacular音乐会和刚刚发布的Playbill虚拟剧院音乐节等,我们也推出了Stream Stealers和The Broadway Q&A这样的采访节目。这些节目让我们得以与热爱剧院的新、老线上观众以及充满奇妙创造力的业内新人们保持联系。

2020 Festival? 6月是同性恋骄傲月,首场骄傲戏剧在前几天刚刚完成了直播。能否详细介绍下这个项目么?灵感来源于哪?2020骄傲戏剧节还有哪些值得期待的东西?

骄傲戏剧是由迈克尔·乌里、道格·内文和尼克·梅奥三人与Rattlestick Playwrights Theatre联手制作和指导的。今年的骄傲戏剧节原本也是要在线下办的,去年的线下戏剧节就取得了巨大的成功,但我们也希望可以为这些剧目的线上直播做出些贡献,所以很高兴能有机会与骄傲戏剧合作,并在我们的网站上通过数字方式播放这些剧目的演出画面。这些戏剧通过纪念历史上有过深远影响的LGBTQIA+戏剧来帮助百老汇关怀/公平抗击艾滋基金会(Broadway Cares/Equity Fights AIDS)筹集资金,并提高该组织的社会知名度,我很喜欢、也很欣赏这个组织。

上周五,我们刚播了第一场戏,唐娜·洛夫的《二分之一》(One in Two),这场戏非常棒。接下来,我们在美东时间6月22日晚7点邀请Five Lesbian Brothers再度合体,现场朗读他们1992年的剧作《勇敢的微笑……另一个女同的悲剧》(Brave Smiles…Another Lesbian Tragedy),本次活动仅此一场;美东时间6月26日晚7点,我们将直播玛特·克劳利的戏剧《从男孩到男人》(The Men From the Boys),该剧由扎卡里·昆托指导;美东时间6月27日晚7点,我们将直播MJ 考夫曼的戏剧《阳刚之气》(Masculinity Max)。重头戏则是我们将于6月28日举行Playbill Pride Spectacular音乐会。

Among the most depressing forecasts as the pandemic continues is that live shows and performances will not be able to resume for the rest of 2020, at least. But as the old saying goes, “The show must go on,” so how does Playbill plan to adapt to whatever the social distancing, self-isolating future holds? 现在最悲观的预测是,如果疫情无法得到控制,那么年底前现场演出和表演可能都将无法恢复。但就像老话说的那样,“演出还得继续下去”,那么在社交疏离、自我隔离的背景下,Playbill打算如何适应未来的变化?

我们将继续为网站创作适合自己的内容,保持与观众的互动,等剧院重新开门时,我们也将回到剧院,继续为我们心爱的读者和藏家服务。Playbill是不多的几家戏剧专门机构之一,其成立时间(1884年)甚至比许多剧院还早,可以说我们早已经历了历史的洗礼。如同整个剧院行业一样,我们也会得到很好的恢复,并以新的、负责任且尽可能安全的方式给人们带来欢乐。(财富中文网)

译者:Feb

虽然在可以预见的未来,百老汇的剧院还不会开放,现场演出也不会重启,但戏剧杂志Playbill今夏的工作日程仍然排的是满满当当。

近期,《财富》杂志采访了Playbill的首席数字官亚历克斯·博什,询问了疫情对舞台制作周边业务的影响,以及在社交疏离的背景下,我们对未来现场演出的期待。

为简明起见,以下采访内容有所删改。

《财富》:你是什么时候发现新冠疫情影响到了你在Playbill的工作?

在2月中旬时,我就隐约察觉今年春天可能会不一样,只是很难想象究竟会出现什么情况,毕竟我们都从未遇到过规模如此大的疫情。后来,爵士与雷霆的比赛也因为有球员新冠检测呈阳性而取消,这就越发表明这次的情况跟以往截然不同。当时的场面非常少见,裁判冲入场中,宣布比赛取消并要求所有人立刻回家,就像电影中的场景一样,令人难以置信。

那一刻,我立刻就想到,百老汇可能很快也会受到巨大影响。不过,我觉得没有人知道这种影响会持续多长时间。那场比赛取消后, NBA宣布赛季暂停,不久,百老汇也宣布暂停演出。

在可预见的将来,百老汇以及几乎所有其他地方的全部秀场、戏剧和音乐剧演出都将处于停摆状态。现场演出都停了,Playbill是如何维持自身业务运转的?你们与观众的互动如何?有没有采取些特别措施来为停业的演员和剧务工作人员提供支持?

Playbill原名Playbill On-Line,是我父亲在20世纪90年代中期创办的,自创办以来,Playbill一直是覆盖最广泛、更新最及时的线上戏剧媒体。我们发布的文章包括剧院介绍及其相关新闻。除此之外,我们还创办了Playbill Vault数字图书馆,在这里你可以找到与百老汇所有作品有关的各种实用信息,无论它是过去的剧目还是正在上演的剧目。我们网站上有一个“工作”版块,想要从事戏剧行业的人士可以在这里查看相关的工作机会,我们还有一个名为PLAYBILLder的专门网站,用户能够在这里制作自己的节目单。我们社交媒体上的粉丝也非常多,各主要平台上的粉丝总数已经超过150万。

当有人问我什么业务增长最快时,我都是回答:“Instagram”。我们之前就已经进入了内容创作领域,既包括流媒体直播,也包括音乐剧和戏剧录播,比如骄傲戏剧(Pride Plays)、Playbill Pride Spectacular音乐会和刚刚发布的Playbill虚拟剧院音乐节等,我们也推出了Stream Stealers和The Broadway Q&A这样的采访节目。这些节目让我们得以与热爱剧院的新、老线上观众以及充满奇妙创造力的业内新人们保持联系。

2020 Festival? 6月是同性恋骄傲月,首场骄傲戏剧在前几天刚刚完成了直播。能否详细介绍下这个项目么?灵感来源于哪?2020骄傲戏剧节还有哪些值得期待的东西?

骄傲戏剧是由迈克尔·乌里、道格·内文和尼克·梅奥三人与Rattlestick Playwrights Theatre联手制作和指导的。今年的骄傲戏剧节原本也是要在线下办的,去年的线下戏剧节就取得了巨大的成功,但我们也希望可以为这些剧目的线上直播做出些贡献,所以很高兴能有机会与骄傲戏剧合作,并在我们的网站上通过数字方式播放这些剧目的演出画面。这些戏剧通过纪念历史上有过深远影响的LGBTQIA+戏剧来帮助百老汇关怀/公平抗击艾滋基金会(Broadway Cares/Equity Fights AIDS)筹集资金,并提高该组织的社会知名度,我很喜欢、也很欣赏这个组织。

上周五,我们刚播了第一场戏,唐娜·洛夫的《二分之一》(One in Two),这场戏非常棒。接下来,我们在美东时间6月22日晚7点邀请Five Lesbian Brothers再度合体,现场朗读他们1992年的剧作《勇敢的微笑……另一个女同的悲剧》(Brave Smiles…Another Lesbian Tragedy),本次活动仅此一场;美东时间6月26日晚7点,我们将直播玛特·克劳利的戏剧《从男孩到男人》(The Men From the Boys),该剧由扎卡里·昆托指导;美东时间6月27日晚7点,我们将直播MJ 考夫曼的戏剧《阳刚之气》(Masculinity Max)。重头戏则是我们将于6月28日举行Playbill Pride Spectacular音乐会。

Among the most depressing forecasts as the pandemic continues is that live shows and performances will not be able to resume for the rest of 2020, at least. But as the old saying goes, “The show must go on,” so how does Playbill plan to adapt to whatever the social distancing, self-isolating future holds? 现在最悲观的预测是,如果疫情无法得到控制,那么年底前现场演出和表演可能都将无法恢复。但就像老话说的那样,“演出还得继续下去”,那么在社交疏离、自我隔离的背景下,Playbill打算如何适应未来的变化?

我们将继续为网站创作适合自己的内容,保持与观众的互动,等剧院重新开门时,我们也将回到剧院,继续为我们心爱的读者和藏家服务。Playbill是不多的几家戏剧专门机构之一,其成立时间(1884年)甚至比许多剧院还早,可以说我们早已经历了历史的洗礼。如同整个剧院行业一样,我们也会得到很好的恢复,并以新的、负责任且尽可能安全的方式给人们带来欢乐。(财富中文网)

译者:Feb

Even with Broadway going dark and all in-person performances shuttered for the foreseeable future, Playbill—the iconic publication for theatergoers—is pushing ahead with a busy summer schedule.

Fortune spoke with Playbill’s chief digital officer Alex Birsh for a new series, The Coronavirus Economy, about how the outbreak has affected the stage-production-adjacent business and what we can expect for live shows in our socially distant future.

The following interview has been lightly edited and condensed for clarity.

Fortune: When did you realize the outbreak of COVID-19 was going to affect your work at Playbill?

I had an inkling in mid-February that the spring was not going to be normal, but envisioning how was the hard part, since anyone alive now has never experienced such a pandemic. Once the Jazz vs. Thunder game was canceled due to a player testing positive for the virus, I knew we were in truly uncharted territory. You just don’t see referees run onto a court, call a game off, and tell everyone to go home. It was staggering; it was like something out of a movie.

So I immediately started thinking that Broadway, very soon, is about to be affected in a huge way. I don’t think anyone could have envisioned for how long, though. The NBA season was immediately suspended, and then Broadway was suspended soon after.

All shows, plays, and musicals on Broadway—and virtually everywhere else—are canceled for the foreseeable future. Without live shows, how is Playbill keeping the business running? How is it engaging with the audience, and has it been doing anything in particular to support the casts and crews of shuttered productions?

Ever since my father started Playbill On-Line, its old title, in the mid-1990s, Playbill has been the most extensive and consistently updated online theater resource. We write about theater and theater-adjacent news; we have the Playbill Vault—a digital library of all the information you could ever need about Broadway’s productions of the past and present; we have a Jobs section on our site to help people get their start in the industry; and we have a separate make-your-own-Playbill site called PLAYBILLder. We also have an incredibly passionate following on social media, with more than 1.5 million total followers across the major platforms.

When anyone asks me what the fastest-growing part of our business is, my answer is always the same: our Instagram profile. We have ventured into the content creation space, either streaming live or recorded musicals and plays, such as Pride Plays, our Playbill Pride Spectacular concert, and the just-announced Playbill Virtual Theatre Festival, or holding interviews through interview series like Stream Stealers and The Broadway Q&A. Through all this, we keep engaged with new and old online audiences who are theater-obsessed, along with the army of new and exciting creative forces in the industry.

June is Pride Month, and the first of the Pride Plays just aired via live stream. Could you explain a bit more about this initiative, what inspired it, and what else fans can expect from the Pride Plays

Pride Plays is produced and directed by the great trio of Michael Urie, Doug Nevin, and Nick Mayo, in association with Rattlestick Playwrights Theater. The festival was obviously supposed to be an in-person experience, just as it was wonderfully done last year, but we wanted to be part of the reason these plays were able to reach the digital public, and we are thrilled to partner with Pride Plays and host them digitally on our site. The Plays help raise funding and awareness for Broadway Cares/Equity Fights AIDS through honoring impactful LGBTQIA+ plays through history, an organization that is near and dear to my heart.

On last Friday, we just held our first play, Donja R. Love’s One in Two, which was just outstanding, and up next we have the Five Lesbian Brothers reuniting for a one-night-only live reading of their 1992 play Brave Smiles…Another Lesbian Tragedy at 7 p.m. ET on June 22; Mart Crowley’s The Men From the Boys, directed by Zachary Quinto at 7 p.m. ET June 26; and Masculinity Max by MJ Kaufman at 7 p.m. ET June 27. And to top it off, we have our Playbill Pride Spectacular concert on June 28.

We will continue to create content fitting for our site to keep our audiences engaged, and when theater returns, we will return to the theaters to serve our beloved readers and collectors. Playbill is one of the rare theatrical institutions that has been around longer than many theaters themselves—we were established in 1884—so we have seen our fair share of history surround and impact us. We, like the theater itself, will rebound well and be smart and responsible in helping bring people the joy of theater in the safest ways possible.

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