Get to the awkward truths about Edinburgh digs crisis – this week in Your Views

Action plan to nip phone problem in the bud

With regard to Kate Maltby’s recent column (‘Theatre etiquette: covering up their cameras is the least audiences can do’,), apart from a lack of consideration to the performers, a mobile phone with a bright screen can be extremely distracting for audience members sitting behind and to the side too.

Surely the way forward is make an appeal by the public-address system before a performance starts, together with visual aids at the front of each section of a theatre – that is of a mobile phone with a red cross placed over it, as I have seen a few times already – policed by house staff who approach ticket holders individually if offences occur (again, which I have already seen). If this stricture is ignored, the curtain needs to come down, as it would were there a serious accident, however disruptive it may prove; on a second offence the performance needs to be abandoned, by previous written agreement with each patron when they book in person or online – with no refunds being offered.

Phones placed on silent, but left to vibrate, and kept in the pocket or bag for medical reasons – as is common with diabetics – should not present a problem.

A final photo of ‘bows’, as has been the respectful practice with theatregoers for some time, might be acceptable on an individual basis – to be notified in the earlier PA announcement. Copyright infringement and public disturbance are serious offences and this may nip the problem in the bud. Worth a try?
Peter Hamburger
Via thestage.co.uk

Theatre should be an intimate moment between the performers and audience, a sharing of a ‘one-time’ event that only a live performance can bring. A camera pointing at the stage means that audience member is not involved in the moment and becomes a modern-day voyeur – not good for the performer and doesn’t reflect well on the audience member.
Claire Hartley
Via thestage.co.uk

Demand will light the way

When digital film cameras came out, everyone announced the death knell for celluloid. Initially it declined, but when the top-name directors, producers and cinematographers raised a ruckus, the industry guaranteed demand. As a result, for those with the budgets, the old analogue film stock is still manufactured and artists have the choice.

Business is business and if there is a commitment not just to using tungsten but also to buying it, manufacturers will see sense in making them (‘Are we seeing the final demise of tungsten lighting?’). I wouldn’t want to go back to a world without intelligent lights but I don’t want to embrace a world without tungsten lights either.
Symon Culpan
Via thestage.co.uk