Live-Capture Filmed Theatre Productions: A New Hybrid Art Form Between Film and Theatre

This paper explores the unique positioning of live-capture filmed theatre, specifically referring to National Theatre Live examples, through the lenses of film theory and genre studies. Live-capture filmed theatre has gained substantial traction, particularly during the COVID-19 pandemic, which accelerated the transition of theatre into online platforms. This study examines how this hybrid form is conceptualized within contemporary film theory and genre frameworks. Drawing on D.N. Rodowick’s insights into the fluid and evolving nature of cinema and Siegfried Kracauer’s critique of early filmed theatre’s “canning,” the paper evaluates how live-capture filmed theatre both sticks to and differs from traditional cinematic norms. Additionally, Rick Altman’s semantic/syntactic/pragmatic genre theory provides a framework for assessing the hybrid characteristics of live-capture filmed theatre. The analysis reveals that while live-capture theatre fits neither conventional film genres nor fully reflects theatrical experiences, it operates within a distinct hybrid space that blends elements of both media. Ultimately, live-capture filmed theatre is positioned as a new hybrid art form that challenges conventional definitions of film and theatre. It contributes to the evolving discourse on audiovisual media by offering new industrial opportunities and enhancing global accessibility to theatrical performances. This study highlights the need for continuous exploration of hybrid art forms and their impact on the future of film and theatre studies.