Image via 9jumpin.com.au
The Voice (Australia) is the most recent edition to the pool of talent shows broadcasted on television, and refreshed the traditional ‘Idol’ format that, after over a decade of broadcast, began to go stale, as proved by the long-awaited axing of the American Idol series. The Voice begins each season prerecorded, and as contestants progress to the next level, they begin broadcasting live to air, increasing the risky nature of the competition-style program, and suggesting that viewers tune in to catch the action as it unfolds. This has an effect on the overall flow and dynamic of the program, and increases the level of audience interaction and active engagement. Two key concepts involved in The Voice’s shift to live broadcast is the idea of ‘liveness’, as well as the notion of media convergence, promoting audience activity external to the television screen, dictating how the program is carried across platforms by its audience.
Live television thrives on its indeterminacy. An experience, or rather, a live program like The Voice, can be indeterminate if, and only if, both the underlying event and the manner in which it is experienced is uncertain. (Vosgerau 2006) This indeterminacy creates a motivation for audiences to witness the program as it happens, subsequently involving them in the ‘watercooler’, or rather, social media, conversation – but more on that later.
Additionally, Alla Gadassik’s ideas of “affective corporeal disruption” in live television come directly into play when discussing the allure of watching a program that is broadcast live, versus one that is tightly edited, scripted and broadcasted to the producer’s complete intent. He claims that “the attraction of television liveness… depends precisely on such brief, unexpected ruptures in television’s controlled daily flow” (Gadassik 2010). Streaming delays, awkward talent moments, forgotten lyrics and audio mishaps – while seemingly unfortunate – accentuate and emphasise The Voice’s sense of liveness. For some viewers, these potential disruptions act as their motive to tune in.
The appropriate vocabulary associated with live broadcast, which is heavily evident in The Voice, is key in insinuating the pretense of the show and drawing audiences in to watch. Terms such as ‘now’ and ‘live’ further implies “… that the events under discussion are happening right now” (Marriott 2007). Addressing the remote viewer “as a witness of the events unfolding in the real time of transmission”, as host Darren McMullen does, empowers the audience to engage with the program and vote for their favourite to win (Marriott 2007).
Continuing from the concept of ‘liveness’ are the steps audience takes within the modern mobile environment to engage with the show. Live twitter feeds featured at the bottom of the TV screen accentuate the idea of ‘maximum liveness’, which allows viewers to participate in the conversation as it happens. This year The Voice added an Instagram feed to the show, referring back to audience activity throughout the duration of the program. By featuring judge/celebrity and viewer Instagram posts side-by-side, The Voice positions the importance of the judges and the viewers on a somewhat equal playing field.
External to the television screen, The Voice has a voting app and a highly interactive website, providing viewers with polls, full episodes, behind the scenes footage and contestant profiles. The use of hashtags such as #TheVoiceAU and #TeamJessie link online conversations together and creates a total viewing experience that radiates external to the traditional TV screen.
References:
Gadassik, A. (2010). At a Loss for Words: Televisual Liveness and Corporeal Interruption. Journal of Dramatic Theory and Criticism, 24(4), pp. 117-134.
Marriott, S. (2007). Time and the Live Event. Live Television: Time, Space and the Broadcast Event. London: Sage. pp. 59-73.
Vosgerau, J., Wertenbroch, K., & Carmon, Z. (2006). Indeterminacy and Live Television. Journal of Consumer Research, 32(4), pp. 487-495.
