Paper short abstract:

Cultural and creative sector responded to the Covid-19 crisis challenges, and new digital delivery strategies for art products were developed. The question is whether these strategies can be seen as a tactic for short-term survival, or whether they contain a long-term industry development potential.

Paper long abstract:

The cultural and creative ecosystem, with its openness to experimental solutions, responded adaptively to the Covid-19 crisis challenges, and new digital delivery strategies for art products were developed. In Latvia, survey on the impact of the pandemic on CC sector revealed, that the proportion of population consuming arts on the Internet has increased from 19% to 45%. Also, the discussion on the manifestations of digital inclusion and exclusion in the performing arts, where the effect of presence or "liveness" (Auslander) is of special importance, became relevant among academics and professionals.

The aim of the paper is to examine whether the new digital delivery strategies can be seen as a tactic for the short-term survival, or whether they contain a long-term industry development potential. Do innovative products lead to a redefinition of the "real theatre"?

Seņkov's performance "Iran Conference" (Vyrypaev), which received national award in the category "Event of the year in digital environment" was chosen as a case study.The content analysis of media and the data of in-depth interviews with professionals, critics, and audience have revealed parallel existance of two contradictory narratives. Firstly, the notion that digital solutions cannot replace the experience of liveness in performing arts. Secondly – digital environment has effective benefits for both the creation of new art forms and the inclusion of new audiences.

Thus, innovative digital “survival” solutions and their connection with creative communities can complement and diversify in the long term, but not replace the liveness factor that is essential for performing arts.