theatre artist, founder of ensemble, video essayist.

Speculation on a Web3 Theatre Company

Web 3 will change theatre in ways we cannot imagine, but let us try for a moment anyway.

I am certain that some of the things below will not happen, but some of them will. This is not prediction, only speculation. If I were starting a new theatre company tomorrow, or if I ran an existing theatre company and had the opportunity to change everything, here’s how I would use Web 3 tools to do that.

I originally posted this in December of 2021 on substack, but mirror seemed like a better home for it. I’ve included definitions at the end for those unfamiliar with acronyms / lingo.

**NFTs**

1. NFT Tickets, Programs, and Posters
   * This one seems pretty self explanatory, royalties for theatres on secondary ticket sales, plus digital collectibles.
2. NFT Subscriptions
   * Similar to above, but these could be auctioned off and limited in quantity, and they could of course get you into those fancy galas theatre patrons are so fond of.
3. NFT Fundraisers
   * Building on the subscription component, NFTs with particular cultural significance or theatrical impact could be sold. I think of first edition scripts, set designs, ‘signed’ actor headshots, even show moments as videos.

NFT fundraisers are becoming more prevalent in the non-profit world, and offer particular utility to theatre audiences with their ability to capture and show off culture.

**DAOs**

DAOs are still in their early stages, but it’s clear they offer unique ways for groups to work together and share governance over their organizations. This could have broad applications in the theatre industry, where traditional power structures and chains of command are often detrimental to equitable programming, fund allocation and operations.

I could see DAOs being used in 2 major ways.

1. Internal DAOs for company decisions.
   * All or some of the performers, technicians and staff of a company could collectively make programming, branding, and even salaries / operations decisions. This obscures the all powerful role of Intendant / Artistic Director, and gives more power to the company as a whole, following the direction [René Pollesch is pointing towards at the Volksbühne.](https://www.nytimes.com/2021/12/03/theater/rene-pollesch-volksbuehne.html?searchResultPosition=1) (Without blockchain at the moment)
2. External DAO for company decisions
   * DAOs also provide the opportunity for a theatre’s audience and donors to influence the theatre’s operations in a more open way, almost acting like a decentralized board of directors. I could see this being very useful in things like fundraising or community decisions, but find it unlikely that a theatre would allow an audience much of a choice over matters of programming, even if that would be terribly interesting.

There could also be temporary, purpose built DAOs for individual productions, though it is unclear if a full-scale DAO infrastructure is necessary at that level. This is something we’re playing with at [Ensemble.](https://www.ensemble.works/)

**Social Tokens** will be useful in DAOs, and also in engaging audiences, most obviously as rewards programs.

**The Metaverse** 

Theatre is already in the metaverse, and has been since Avatar Repertory Theatre did *Oedipus Rex* in Second Life, (probably before too) so we are furthest along on this side of things.

![Finding Pandora X, Double Eye Studios, 2020.](https://cdn.substack.com/image/fetch/w_1456,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2Fa0f6f299-30a3-421f-98f4-91cb3862707e_1920x1080.jpeg)

The metaverse offers endless opportunity for theatre, especially when you consider that everyone within it is adopting a character to some degree.

There are a couple practical ways adoption of metaverse environments could affect theatre companies, both of which have already begun being implemented by some.

1. Greater use of digital rehearsal / performance spaces.
   * Companies wi