# Social Media

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There is a lot of documentation online allowing you to quickly learn how to develop your own web apps; however, if you do not want to add this to your to-do list, integrating social media can work as a replacement. Social media sites have been used pre-pandemic for theatre experiments, with one of the more famous being [*Such Tweet Sorrow* from the Royal Shakespeare Company](#user-content-fn-1)[^1]. Arguably, RSC’s 2010 approach to *Romeo and Juliet* online[ is no longer possible due to the widespread integration of algorithm-based feeds](#user-content-fn-2)[^2]: ‘Over the years, the way content is presented to users has undergone a remarkable evolution, transitioning from simple chronological timelines to sophisticated and personalized intelligent feeds’. It is no longer possible to follow a linear narrative in a social media space. However, these platforms can still be used.\
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For example, [*Adelaide Liminal’s*](https://secondwavedigitaltheatre.gitbook.io/flinders-phd-research-project/appendices/research-participant-information/interviewees/carmel-clavin) use of Instagram and Spotify were non-places online where the Wanderer Society had left mystical traces, and these sites can keep the magic alive as they are still discoverable after the show. And, social media is still a good place for conversation, although [many users increasingly feel discontent, dislike, and even disgust for these apps](https://www.scientificamerican.com/article/why-social-media-makes-people-unhappy-and-simple-ways-to-fix-it/). [Sarah Bay-Cheng writes ](#user-content-fn-3)[^3]of Fake Friends’ Twitter success: ‘If the exchange, the flow, the back-and-forth between audience and actors is what is important \[in theatre], then this is explicitly what recent performances like Fake Friends’ livestream production of *Circle Jerk* or their *This American Wife* (both produced during the pandemic in 2020 and 2021 respectively) and its real-time Twitter audience created’.

[^1]: Kennedy, M. (2010, April 12). Romeo and Juliet get Twitter treatment. *The Guardian*. <https://www.theguardian.com/culture/2010/apr/12/shakespeare-twitter-such-tweet-sorrow>

[^2]: Santilli, P. (2024, January 1). “The Evolution of Social Media Algorithms: From Chronological to Intelligent Feeds.” *SCIP*. <https://www.scip.org/news/661348/The-Evolution-of-Social-Media-Algorithms-From-Chronological-to-Intelligent-Feeds-.htm>

[^3]: Bay-Cheng, S. (2023). Digital performance and its discontents (or, problems of presence in pandemic performance). *Theatre Research International*, 48(1), 9-23. <https://doi.org/10.1017/s0307883322000372>