Purpose: The live streaming of theatrical performances to cinemas has become increasingly common in recent years. The practice offers potentially positive returns for audience reach, audience development, revenue streams and global cultural exchange (Cochrane and Bonner, 2014; Nesta, 2011; King, 2016). However, the conceptualisation of live performance transmissions remains under-explored. The purpose of this paper is to review critically selected literature on event experience and apply it to the growing practice of live-streaming theatre (LST). In doing so, the paper develops a new conceptual model that can be used to guide future research on audience expectations, motivations and experience of LST.Design/methodology/approach: A comparative historic case study approach combines a structured review of relevant academic literature and industry sources. Theories of live cultural experience and authenticity are critically reviewed. The opportunities and threats of LST to performing arts companies are summarised. The approach considers cognitive, affective and behavioural factors in probing themes of audience awareness, perceptions, expectations and experience of LST. The paper uses these factors to develop an original conceptual model for LST.Findings: The research finds that the practice of cinematic live transmission of performing arts challenges existing conceptual categories and marketing strategies. Fundamental events studies factors such as “attendance”, “authenticity” and “experience” are re-evaluated. The model suggests that despite improvements in digital technology traditional theatre and broadcasted theatre are two different experiences, not substitutes.Research limitations/implications: As a conceptual paper, the results are subject to being tested in the field. The findings reveal implications for the evolving future of hybrid and mixed event experiences. The potential for LST screenings to attract new audiences requires further study.Practical implications: The implications of the research reflect the changing business models and supply side dynamics of theatre production and touring. The results suggest that live streaming is of limited effectiveness in addressing the capacity limits of Baumol and Bowen’s (1966) “cost disease” in live arts performance. LST allows major brands to penetrate regional markets thereby potentially squeezing out smaller touring companies and restricting innovation.Social implications: The findings reveal implications for the evolving future of hybrid and mixed event experiences.Originality/value: The influence of digital technology on live arts experience is currently under-explored and under-theorised. This paper develops a new conceptual model that captures in greater detail than previously the various factors that may determine audience engagement with, and experience of, LST. The paper contributes to knowledge by expanding the discourse on the gaps between the competing aims of access and authenticity. The analysis expands the academic understanding of hybrid and virtual event experiences.

The impulsive live streaming consumption intentions of the Southeast Asian market are examined in this study. Online live streaming transactions, a new form of social media, are becoming popular due to their real-time communication and innovative business concept. Though little attention has been dedicated to it, a theoretical knowledge of Live Streaming Transaction (LST) is crucial given its broad application and unique features. The analysis of 8613 respondents from Southeast Asia in this study, based on flow, temperament, and personality theories, offers fresh perspectives on the mediating role of flow and the moderating effect of temperament in a cross-national setting. Cluster sampling was used to construct a mixed-method conditional indirect effects model. Since introverted temperament types look for voices that echo within them, our findings revealed that LSTs are more intriguing to this market segment. Theoretical and practical elements, as well as implications for future directions, are presented.

‘Immersive events' is a growing category within the range of event typologies that includes participatory theatre, interactive launch parties, ‘escape rooms’ and dress-up cinema. A conceptual model reflects three core elements of the immersive events: Interaction, Sensory experience, and Localisation. A targeted online survey obtained a sample of n = 201 participants who had attended an immersive event within the past year. The results reveal that novelty and entertainment are highly important to attendee motivation. Gender, marital status, age, and education affected attendance patterns. Attendees were drawn to the uniqueness and participatory aspects of the immersive event. Deterrents to attendance were cost and perceived value. Rapid developments in digital technology suggest even greater degrees of immersivity on the horizon. These findings offer a timely contribution to the better understanding of the immersiveness concept, and its influence on attendee motivation and experience.

How do local and national authorities, tourism businesses and citizens respond to crisis conditions? The notion of ‘crisis’ involves uncertainty, danger and the need to respond urgently to new conditions. As Santana (2004) notes, these are not sentiments that one would normally associate with the pleasant, relaxing and enjoyable features of tourism. This chapter explores and unpacks the concept of ‘crisis’, the impact of crises in tourism settings, and policy responses. The chapter begins by considering the similarities and differences between human-made and natural-occurring crisis conditions. Human history is punctuated by many crises that have disturbed, disequilibrated or, in the worst cases, destroyed the opportunities for the movement of people for trade and leisure purposes. A conceptual typology is formulated to distinguish between one-off and recurring (cyclical) crisis conditions, the scale of their impacts and their influence on short- and long-term tourism planning and development. Examples are used to illustrate a variety of different tourism destinations and crisis conditions. The aim of the chapter, therefore, is to deepen the understanding of the complex layers of ‘crisis’ and ‘disaster’ as they affect the tourism industry.

The purpose of this paper is to investigate the effect of a viewer's demographic factors on the degree to which they are influenced by the political correctness/incorrectness of an advertisement, as well as to determine whether there is a correlation between the degree of political correctness in advertising and the brand's image. To determine whether there is a correlation between the level of political decorum in advertising and purchase intentionsBased on survey responses from 296 individuals, the researchers conducted a descriptive analysis of the findings. In addition, the Chi-square test in conjunction with the Kruskal-Wallis test was used to determine whether the hypotheses were accepted or rejected. Spearman Correlation was utilized to demonstrate the existence of a relationship between variables. People who were familiar with Birell as a brand filled out the questionnaires and were then shown the campaign before completing the survey. The questionnaire was distributed through Facebook and WhatsApp groups.The research revealed a correlation between the demographic factors of the viewer and their perception of political correctness. The relationship between political correctness in advertising and brand image is also substantial. The results revealed a significant negative relationship between political correctness and purchase intent, indicating that as the degree of political correctness decreases, purchase intent increases. Based on the research findings, policy implications, and suggestions to further stop the promotion of actions perceived as masculine or the enforcement of gender roles, especially when product buyers are targeted based on gender, organizations should use their tagline more appropriately.