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Tandem Dances
"In October 2017, four internationally influential practitioners of immersive experiences gathered at the Snug Harbor Cultural Center on Staten Island in New York for a panel discussion on the creation of immersive productions. The panel, entitled "All the World is a Stage," was part of the Future of Storytelling Festival 2017 (FoST FEST), advertised as "the world's leading immersive storytelling event." During this discussion, each of the four panelists described examples of their work. Hector Harkness, Associate Director of Punchdrunk International, explained how the company created productions that "rip up the rules for the audience" so they can "go beyond the boundaries of closed environ...
Being in Contact: Encountering a Bare Body
This choreographed book is dedicated to the phenomenon of the bare body in contemporary performance. This work of artistic research draws on philosophical, biopolitical, and ethical discourses relevant to the appearance of bare bodies in choreography, setting a framework for a reflexive movement between affect and ethics, sensuous address and response. Acts of exposure and concealment are culturally situated and anchored, and are examined for their methodological and nanopolitical significance. The concepts of anarchic responsibility and choreo-ethics lead to a reevaluation of contact, relationship, and solidarity. Choreography is thus understood as a complex field of revelatory experiences based on ecologies of aesthetic perception and ethico-political agency.
Immersive Theatre
A collection of essays that look to catalogue the popularization of "immersive" theatre/performance throughout the world; focusing on reviews of works, investigations into specific companies and practices, and the scholarship behind the "role" an audience plays when they are no longer bystanders but integral participants within production.
Political Dramaturgies and Theatre Spectatorship
What do we mean when we describe theatre as political today? How might theatre-makers' provocations for change need to be differently designed when addressing the precarious spectator-subject of twenty- first century neoliberalism? In this important study Liz Tomlin interrogates the influential theories of Jacques Rancière to propose a new framework of analysis through which contemporary political dramaturgies can be investigated. Drawing, in particular, on Ernesto Laclau and Chantal Mouffe, Lilie Chouliaraki and Judith Butler, Tomlin argues that the capacities of the contemporary and future spectator to be 'effected' or 'affected' by politically-engaged theatre need to be urgently re-evalu...
新審美經濟
奇觀（Spectacle）、沉浸（Immersive Theatre）、可愛（Staging Cuteness）、振奮（Thymos）──從日常生活到理論思考，在當代文化產業與審美經濟風潮下， 新的審美範疇蔚然成形，並且正在改變世界！ ．在當代文化產業與審美經濟風潮下，一些新的審美範疇蔚然成形，包括劇場的沉浸式審美（immersive）帶來前所未有的藝術欣賞經驗；可愛（cuteness）及其相關授權商品提供消費大眾建構社交生活並獲得認同的契機；奇觀（spectacle）掙脫被預言的同質化窘境，在新媒體與表演藝術等領域中展現旺盛創造力；網際網路世界中尋求認同的振奮...
Experiments in Immersive, One-to-One Performance
This book investigates audience experience through the lens of sensory engagement in immersive, one-to-one performance. It presents a distinct, practice-based research (PBR) framework – a performance research ‘laboratory’ – designed to evaluate the effects on diverse audience experiences of two ‘sense-specific manipulations’: eye masks and touch. Through a qualitative analysis of responses from seventy-four individual audience participants, this book offers insight into how these popular ‘immersing’ strategies might be experienced. What do these strategies achieve? How do audience participants make sense of them? Do audience responses align with artistic intentions? And how d...
Brian De Palma's Split-Screen
Over the last five decades, the films of director Brian De Palma (b. 1940) have been among the biggest successes (The Untouchables; Mission: Impossible) and the most high-profile failures (The Bonfire of the Vanities) in Hollywood history. De Palma helped launch the careers of such prominent actors as Robert De Niro, John Travolta, and Sissy Spacek (who was nominated for an Academy Award as Best Actress in Carrie). Indeed, Quentin Tarantino named Blow Out as one of his top three favorite films, praising De Palma as the best living American director. Picketed by feminists protesting its depictions of violence against women, Dressed to Kill helped to create the erotic thriller genre. Scarface,...
Theater der Vereinnahmung
Was ist immersives Theater? Was bedeutet es, im Kontext der Theaterrezeption davon zu sprechen, dass Zuschauerinnen und Zuschauer "komplett eintauchen"? Die vorliegende Studie entwickelt anhand eines breiten Korpus von Aufführungen des partizipativen Gegenwartstheaters ein Verständnis von immersivem Theater im engen Sinn und trägt damit zur begrifflichen Unterscheidung von Partizipation und Immersion bei. Untersucht werden formale Gemeinsamkeiten der Publikumsinvolvierung in Arbeiten des Kollektivs SIGNA, von Paulus Manker, Punchdrunk und Scruggs/Woodard. Die Autorin zeigt, dass immersives Theater mit seinen multisensorischen und interaktiven Erfahrungsräumen wirkungsästhetisch auf komplexe Prozesse der Vereinnahmung zielt. Diese können sowohl in produktive Selbstreflexion umschlagen als auch unbemerkt bleiben, worin sich die gesellschaftspolitische Relevanz dieses "übergriffigen" Theaters widerspiegelt.
A Theory of Dramaturgy
A Theory of Dramaturgy is the first text of its kind to define concepts and combine arguments into a coherent dramaturgical theory supported by an operative systems theory. This is a wide-ranging theory with historical and contemporary perspectives on dramaturgy, rather than simply a how-to book. Dramaturgy began in ancient Greece, born from experimentation with democracy and commentary in the theatre on the human condition. The term itself has seen constant evolution, but thanks to its introduction into common English usage within the last three decades, it has gained new importance. Dramaturgy draws focus to the communication of communication, and in theatre it examines how moving bodies, ...
