Relevant bibliographies by topics / Immersive Theater

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Immersive Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Immersive Theater"

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Jacobson, Jeffrey, and Zimmy Hwang. "Unreal tournament for immersive interactive theater." Communications of the ACM 45, no. 1 (January 2002): 39–42. http://dx.doi.org/10.1145/502269.502292.

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Sumners, C., P. Reiff, and W. Weber. "Learning in an immersive digital theater." Advances in Space Research 42, no. 11 (December 2008): 1848–54. http://dx.doi.org/10.1016/j.asr.2008.06.018.

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Gochfeld, David, Corinne Brenner, Kris Layng, Sebastian Herscher, Connor DeFanti, Marta Olko, David Shinn, Stephanie Riggs, Clara Fernández-Vara, and Ken Perlin. "Holojam in Wonderland: Immersive Mixed Reality Theater." Leonardo 51, no. 4 (August 2018): 362–67. http://dx.doi.org/10.1162/leon_a_01644.

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Holojam in Wonderland is a prototype of a new type of performance activity, “Immersive Mixed Reality Theater” (IMRT). With unique and novel properties possessed by neither cinema nor traditional theater, IMRT promises exciting new expressive possibilities for multi-user, participatory, immersive digital narratives. The authors describe the piece, the technology used to create it and some of the key aesthetic choices and takeaways.
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Fink, Sabine Gebhardt. "Ambient in Kunst, Musik und Theater." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 54. Heft 1 54, no. 1 (2009): 121–32. http://dx.doi.org/10.28937/1000106143.

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In performativen künstlerischen Projekten der Ambient Art werden Raum und Körper neu erzeugt. Diese These verdeutliche ich mit Beispielen aus den Bereichen Musik, Theater und Kunst, die das transdisziplinäre Phänomen Ambient als komplexe mediale Struktur erklären. Des weiteren gehe ich vom Modell des gelebten Raums aus, um auszuführen, wie der Ort eines künstlerischen Projekts die Art und Weise der Verkörperungen seiner Teilnehmer definiert. Umgekehrt wird deutlich, daß die immersive ästhetische Erfahrung von Ambient erst Präsenz und Raum konstituiert. During performative artistic projects in Ambient Art, both space and structures of embodiment are constituted. I illustrate this thesis with examples of performative works in music, theatre and art, in order to analyze the transdisciplinary phenomenon of Ambient Art as a complex structure. My point of departure is a model of lived space in which the bodily enactment in the performative artwork produces place and, vice versa, the place of the artwork determines the active body as an immersive aesthetic experience.
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Fleming, Jason, Nick Sevdalis, Meredydd Harries, and Karan Kapoor. "Validation of a Theater-Based Immersive Microlaryngoscopy Simulator." Otolaryngology–Head and Neck Surgery 145, no. 2_suppl (August 2011): P84. http://dx.doi.org/10.1177/0194599811416318a137.

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Layng, Kris, Ken Perlin, Sebastian Herscher, Corinne Brenner, and Thomas Meduri. "CAVE: Making Collective Virtual Narrative: Best Paper Award." Leonardo 52, no. 4 (August 2019): 349–56. http://dx.doi.org/10.1162/leon_a_01776.

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CAVE is a shared narrative six degrees of freedom (6DoF) virtual reality experience. In 3.5 days, 1,927 people attended its premiere at SIGGRAPH 2018. Thirty participants at a time each saw and heard the same narrative from their own individual location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment. Inspired by the social gatherings of theater and cinema, CAVE resonated with viewers in powerful and meaningful ways. Its specific pairing of colocated audiences and physically shared immersive narrative suggests a possible future path for shared cinematic experiences.
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Giserman-Kiss, Ivy, Michelle Gorenstein, Elyana Feldman, Mikaela Rowe, Hannah Grosman, Jordana Weissman, Audrey Rouhandeh, et al. "The Immersive Theater Experience for Individuals with Autism Spectrum Disorder." Journal of Autism and Developmental Disorders 50, no. 3 (December 3, 2019): 1073–80. http://dx.doi.org/10.1007/s10803-019-04284-7.

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Dmitrieva, L. V. "Children's immersive theater in the party practices of the museum." Voprosy kul'turologii (Issues of Cultural Studies), no. 1 (January 1, 2021): 50–55. http://dx.doi.org/10.33920/nik-01-2101-06.

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The publication was prepared on the basis of practical experience with the children's audience of the museum. Approaches and principles of immersive theater are considered, which are the basis for designing an interactive excursion-performance as a form of mastering the historical landscape through partisan cultural practices. The proposed project is the basic part of the program of summer visiting practice of students of the “Cultural Education” profile in the museum-reserve “Tauric Chersonesos” (2017–2019).
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Husel, Stefanie. "Dem Zuschauen zuschauen?" itw : im dialog 3 (March 6, 2019): 34–48. http://dx.doi.org/10.16905/itwid.2018.2.

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Zeitgenössisches postdramatisches Theater, immersive Installationen, Walks und/oder Games weisen unmissverständlich darauf hin, dass Kunst- beziehungsweise Theatermacher_innen sich nicht mehr mit einem lediglich zuschauenden Publikum begnügen möchten. Schon aus diesem Grund ist es obsolet, das Zuschauen im Theater erforschen zu wollen. Allerdings wird auch dem ganz traditionellen, distanzierten Zuschauen Unrecht getan, wenn es als passiv und leibfern beschrieben wird; ich möchte daher vorschlagen, das Wahrnehmen im Theater (und ähnlichen Settings) als eine mit dem Körper vollzogene Praxis zu beschreiben – unabhängig davon, welche theatralen Formate untersucht werden sollen. Exemplarisch untersuche ich das Publikumsgelächter in einer Forced Entertainment Aufführung von Bloody Mess.
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Lakka, Eftychia, Athanasios G. Malamos, Konstantinos G. Pavlakis, and J. Andrew Ware. "Designing a Virtual Reality Platform to Facilitate Augmented Theatrical Experiences Based on Auralization." Designs 3, no. 3 (July 1, 2019): 33. http://dx.doi.org/10.3390/designs3030033.

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In the last few years, the immersive theater has become a new trend for modern performances. Venues increasingly utilize widely available computer technologies, such as virtual/augmented reality and spatial sound, to help facilitate the realization of different ideas. Motivated by this current trend, a prototype platform has been developed that enables the design and implementation of an augmented theatrical experience based on spatial sound immersion. This paper describes the implementation of the platform and, through several use case scenarios, its evaluation. The paper concludes with a discussion of the results and offers some thoughts on future developments.
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Dissertations / Theses on the topic "Immersive Theater"

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Prisco, Lauren. "Immersive Theater & The Physical Narrative." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.

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Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.
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Alston, Adam. "Productive participants: aesthetics and politics in immersive theatre." Thesis, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603488.

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This thesis looks at an aesthetics and politics of audience participation in immersive theatre. It asks what it means to be affected by immersive theatre as an audience member and what it means to perceive risk as a participating audience. Moreover, it considers how affect production and risk perception among participating audiences might be approached as aesthetic characteristics that are, at the same time, profoundly political. Inspired by, but departing from, the writing of political philosopher Jacques Ranciere, the argument considers whether a politics of audience participation in immersive theatre might be derived from an aesthetic core, a core that emerges from affect production and risk perception and that fundamentally impacts on how participation takes place and how participants are to take their place. Immersive theatre is initially identified as a theatre style that sUlTounds participating audiences in a coherent aesthetic world. I ask, on the one hand, what might constitute a productive participant and how such a productive participant might contribute to the coherence of an aesthetic world. On the other hand, I ask how these productive participants might also be implicated in its rupture. Drawing especially on the broad disciplinary spectrum of affect studies and risk perception research, new terminology is introduced to frame productive participation based on narcissism and entrcpreneurialism. Significantly, points of aesthetic and political alignment are charted between immersive theatre, the value system heralded under neoliberalism and the profitable production of experiences within a growmg 'experience economy'. Through analyses of work by Ray Lee, Lundahl & Seitl, Ptlllchdrunk, Shunt, Theatre Delicatessen and -Half Cut, this thesis suggests that immersive theatre's most valuable political work might be derived from an aesthetics of audience participation that frustrates such points of alignment, unearthing into an affective zone the political consequences and compromises of productive participation.
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Ramos, Jorge. "(Re-) Constructing the actor-audience relationship in immersive theatre practice." Thesis, University of East London, 2015. http://roar.uel.ac.uk/4987/.

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the United Kingdom (UK). This includes audience expectations shaped by theatre conventions, the ways in which actors perform as well as the strategies employed by event producers to encourage audience participation. This research aims to contribute to the field of immersive practice by proposing a new approach to immersive dramaturgy that enhances the experience of individual audiences in immersive, interactive and participatory theatre. This study maps the development of a new approach to actor training, audience interviews and the making of an immersive theatre production trilogy (Hotel Medea). The development process and production of the Hotel Medea trilogy comprise a key practice-based outcome of this research, and it was performed in full in London (2009, 2010 and 2012), Edinburgh (2011) Rio de Janeiro (2010), and in part in the city of Brasilia (2012). A second key outcome of the research is a new methodology of immersive practice—‘dramaturgy of participation’—that includes approaches to theatrical dramaturgy in which each audience member is offered opportunities to proactively participate as an individual, and which will be a useful resource for emerging theatre makers in the field of immersive practice. The overnight theatre production Hotel Medea is a major and central part of this submission. The written material provides context, detailed exegesis and expands upon relevant topics. Readers can access video recordings of Hotel Medea (LIFT, 2010) in full on the following address: http://www.vimeo.com/hotelmedea. I will use the Hotel Medea trilogy as the case study for this research utilizing its durational overnight structure to lead my argument for immersive theatre events to meaningfully consider the experience of each (and every) audience member individually throughout the duration of performance. An experience not based on competitive participation or chance journeys but instead on a carefully designed dramaturgy that allows individuals to build a temporary community with fellow audiences. My argument suggests that there is a need for immersive theatre practitioners to devise adequate tools for its audiences prior to participation being offered, in order to aid a fuller participation in the event. Hotel Medea is a durational interactive theatrical event that takes place in real time from 00.00 a.m. to 06.00 a.m., in three parts. It retells the Greek myth of Medea through three types of participation design: participatory rituals, immersive environments and interactive game-play. Hotel Medea is concerned with the experience of the individual audience members as ticket-paying public, as participants and as players. At every step of the event, expectations are re-negotiated to allow individuals to engage with the event—at times proactively, at others passively. I have focused on the perspective of the author as opposed to solely drawing upon audience questionnaires, feedback and testimonies of collaborators. My choice of critical approach is based on the accumulated experience gathered, especially as a performer in Hotel Medea, allowing me to explore the complex and nuanced responses from individual audience members over the course of six years. During the early stages of my research, audience and collaborator interviews played an important part in evaluating the basic structure of the performance event. However, it soon became clear that the production would need to devise its own tools for capturing relevant data. Therefore the role of the Captain – the first host the audiences meet as they arrive in Hotel Medea - became itself one of the most valuable tools for articulating this research. The Captain, as well as other approaches used, are described in detail through the course of the first chapters. The key focus of this research project is the proposition of a dramaturgy of participation through the notion of the ‘micro-event’. Micro-events are determined by three interrelated design elements, each of which nuances a larger area of practice, namely participatory rituals, immersive environments, and interactive game-play. The significance of this enquiry is the unique new practice in relation to audience behaviour in immersive experiences in a time when the term ‘immersive’ is widely explored both within and beyond the arts. The production output of this research—Hotel Medea—has itself been widely recognized by specialized press and cultural programmers as a leader in the field, creating a direct impact on the wider understanding of processes and methods of audience immersion across the UK and internationally. This recognition can be observed through awards and nominations, public statements of influential figures in the cultural sector, references in academic publications (Boenisch, 2012; White, 2013), in newspaper articles placing Hotel Medea as part of ‘the original cadre of British participatory ensembles’ (Armstrong, 2011) and in other UK publications such as The Herald, Scotsman, Metro (2011), Time Out, and Telegraph (2012).
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Machado, Thiago Luiz Berzoini. "Espectros – um drama familiar: narrativa transmídia aplicada às artes cênicas." Universidade Federal de Juiz de Fora, 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/1914.

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Utilizando como matriz midiática “Espectros – Um drama familiar” (Gengangere, 1881) de Henrik Ibsen, esta dissertação analisa a expansão do universo ficcional de uma peça teatral por diversas plataformas de mídia. A montagem da obra foi desenvolvida através da aplicação de estratégias transmídia com base nas explanações de Henry Jenkins e Stephen Dinehart, teóricos dessa nova forma de utilização da narrativa perante a era da “Cultura da Convergência”. O projeto apresentou ao espectador uma obra que possui vários “pontos de entrada” no universo ficcional da trama de Ibsen, acessíveis através de um conteúdo distribuído eletronicamente: vídeos, áudio-teatro, história em quadrinhos, um jornal fictício que contém informações sobre o programa da peça e um dossiê contra um dos personagens centrais da trama. A experiência também foi levada para um ambiente imersivo - o Second Life –, apresentando uma assembleia virtual que reuniu o elenco e o público atingido pela divulgação do evento nas redes sociais e sítio de hospedagem do material produzido. Com a aplicação dessa estratégia, o espectador é motivado a organizar mentalmente os fragmentos narrativos de situações pulverizadas através de canais de distribuições complementares, proporcionando a continuidade de imersão no universo ficcional mesmo após o término da experiência.
Using as a media-matrix “Ghosts – a family drama” (Gengangere, 1881) by Henrik Ibsen, this work analyzes the expansion of the fictional universe of a play by various media platforms. The composition of the play was developed through the application of strategies based on the explanations of Henry Jenkins and Stephen Dinehart, theorists of this new way of using the narrative according with the era of “Convergence Culture”. The project presented a work in which the viewer has multiple “entry points” into the fictional universe of Ibsen’s plot, accessible via electronically distributed content: videos, audio dramas, comic, a fictional newspaper which contains information about the program of the play and a dossier against one of the central characters of the plot. The experience was also taken to an immersive environment – the Second Life – featuring a virtual meeting that gathered the cast and the audience reached by the advertisement of this event through social networking and hosting website with the material produced. With the implementation of this strategy, the viewer is encouraged to mentally organize the narrative fragments of situations sprayed throughout additional distribution channels to provide continuous immersion in the fictional universe even the ends of the experiment.
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Ellis, Mark Richard. "A masquerade dance of liars : reality, fiction and dissimulation in immersive theatre." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/19278/.

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This research engages with the complex relationship between reality and fiction in immersive theatre. It proposes a theoretical standpoint, based upon the constructivist epistemological theory of Maturana (1980) and Schmidt (1984), which allows critical analysis of the reality/fiction complex. The study then tests this method of analysis on nine existing pieces of work by other artists. The findings from this analysis are then used to explore the notion of dissimulation, the manner by which the constructed fictional artifice of the performance is presented in such a way as it begins to appropriate the conventions of everyday reality. Dissimulation is also used as the basis upon which to suggest points for development in existing work as a means of highlighting the potential use of analysis for practitioners. The application of the strategies used to dissimulate existing work along with application of theory behind the process of dissimulation are then applied practically to the creation of scripts for two new pieces of work, Menagerie and Wonderland. The study also suggests the utilisation of the technique of retrospecting and the proposes the concept of char/actor augmentation as a means of facilitating improvisation through a performance script. The study concludes that the application of constructivist epistemological theory through the proposed method of analysis can reveal information about the manner by which works of immersive theatre apply dissimulative strategies that is re-applicable in the creation of new work and therefore presents a means of thinking that can help practitioners to develop new and existing work.
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Hughes, Erica. "Lost in Austen: An Immersive Approach to Pride & Prejudice." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3707.

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This paper is an account of the Theatre VCU mainstage production of Pride & Prejudice, in which I played the roles of Mrs. Bennet and of the vocal coach. In order to address the various skill levels of the cast, I planned to coach the production in a manner inspired by immersion language learning programs, with the cast speaking in dialect throughout the rehearsal process so as to learn the necessary vocal skills and to grow together as a theatrical ensemble. When the director of Pride & Prejudice was not receptive to this plan, I had to compromise and adapt while fulfilling my duties as actor and coach. The paper includes my initial ideas, a detailed account of pre-production, rehearsals, and performances, and an analysis of the many lessons I learned about artistic collaboration and the art of dialect coaching for the stage.
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Biggin, Rose May. "Audience immersion : environment, interactivity, narrative in the work of Punchdrunk." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15638.

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The phrase immersive theatre has experienced a surge in popularity in recent years, and is often applied loosely. In 2012 (‘theatre roundup: advice for playwrights’) Lyn Gardner noted that ‘immersive is theatre’s new buzzword’ and expressed irritation with its often vague and unspecific application, commenting on ‘marketeers who seem to be applying the term “immersive” to practically anything that isn’t a play by David Hare.’ A specialised vocabulary and set of critical approaches are required. This thesis is about audience immersion in the work of Punchdrunk, a pioneering company working in the form. The thesis proposes that immersive theatre (the theatrical form) and immersive experience (the sensation) have a reciprocal relationship. The thesis begins with an overview of approaches to audience in theatre scholarship and other fields, and establishes a definition of immersive experience that will be applied to case studies in the chapters. The thesis is divided into three sections that consider topics integral to Punchdrunk’s theatre: interactive elements; a fractured and nonlinear approach to narrative; and the creation of scenographically rich environments. The chapters consider the relationship between these topics and immersive experience. The thesis is interested in how immersive experience is created and maintained, and discussed and framed in wider discourse. The first section is about interactivity and immersion. Chapter 1 considers various approaches to interactivity and proposes a multivalent model. Chapter 2 applies this model to a discussion of interactivity and immersive experience in The Drowned Man. Chapter 3 widens the definition of interactivity to consider audience engagement beyond the moment of the theatrical encounter. The second section is about narrative and immersion. Chapter 4 outlines current critical approaches to narrative, and discusses immersion in the interplay of story structure and theatrical structure, using the linear The Crash of the Elysium as a case study. Following on from this, Chapter 5 considers how immersive experience is created and maintained in the context of a Punchdrunk trademark: a nonlinear structure, with scenes in non-chronological order encountered only when a wandering spectator comes across them. Chapter 6 draws on the narrative ‘vs’ ludology debate in the field of gaming; a debate concerned with what a player is actually immersed in – the story or the mechanics of play. The chapter considers immersive experience and story in the Sleep No More project Punchdrunk undertook with MIT Media Lab in 2012, which used gaming mechanics to explore ‘remote and real world interconnected theatrical immersion’. The final section is about environment and immersion. Chapter 7 outlines approaches to environment and draws on methodological approaches from site-specific performance to discuss how immersive experience manifests in the interplay between the original site and the creation of a fictional world in/on that site.
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Solberg, Ragnhild S. "Playing Puppets : Agency, Immersion, and the Fictional Realities of Sabbath’s Theater and Portal." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24132.

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Liang, Liu. "Test Immersion in DomeTheater using Tracking device." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-69280.

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Head tracking is an important way to interact with virtual objects in virtual world. The viewercan move or rotate his head to observe the 3D scene in dierent view. Normally head tracking isused in a cave or just on a at screen.Dome theater has a half sphere screen with multiple projectors together for showing the wholescene onto the big screen. The dome screen could give the viewer a very strong immersion feelingwhen head tracking inside dome theater and that is why we want to implement head tracking indome theater. The half sphere dome screen is so big that multiple projectors should be used forshooting the whole scene onto the big screen. Hence a cluster system is used for manipulating allthe projectors working smoothly. The display system of dome theater has no place for the headtracking part.This thesis tries to introduce a method to do head tracking in dome theater. The mainproblem is how to add head tracking in the display system in dome theater. Frame buer object(FBO) is used as the solution for this problem. The viewer's viewing frustum is created in framebuer object in order to render the 3D scene depending on the viewer's head position. The FBOtexture will then be attached onto a 3D sphere which simulates the dome sphere in virtual world.Since the viewing frustum is always created depending on the viewer's head position, the FBOtextures on the 3D sphere always can represent the 3D scene rendered depending on the viewer'shead position. Using the projectors to shoot the 3D scenes which is the 3D sphere attached by theFBO textures onto the dome screen. That is the main part of how to implement head tracking indome theater.This thesis forcus on rendering the 3D scene onto the dome screen depending on the viewer'shead position. The tracking device controlling part is out of this thesis's scope. VR Juggler (VRJ) is used as the framework in this project. Viewer's position setting and cluster setting are allsetted in the conguration file.
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Kurtzman, Elizabeth. "Immersed in Horror: A Study of the Historical and Contemporary Influences of Poe's Shadows." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91183.

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Though the cinematic genre of horror was not designated until the twentieth century, elements of this genre have appeared onstage since the time of the Greeks. Theatre history is rife with examples of theatrical ghosts and horrors, whose ever-changing representation indicates society's evolving relationship to and expectation for horror onstage. In 2019, Virginia Tech presented the installation Poe's Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe's work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques and technologies. The properties of the Cube performance space allowed the Poe's Shadows creative team to imitate hand-cranked panoramas, magic lantern shows, and shadow plays, while also using sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe's Shadows, as well as the reception of the installation, one can see how the theatre's evolving relationship with horror is effected by audience demand and expectation, as well as newly available technologies.
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Though the horror genre is most often associated with books and films, elements of the genre have been present onstage for thousands of years. Furthermore, studying these theatrical ghosts and ghouls—and how they were represented onstage— can help contemporary audiences understand historical anxieties and expectations. In 2019, Virginia Tech presented the installation Poe’s Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe’s work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques such as hand-cranked panoramas, magic lantern shows, and shadow plays, accompanied by with sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe’s Shadows, as well as the reception of the installation, one can see how the theatre’s evolving relationship with horror is effected by audience expectation and newly available technologies.
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Books on the topic "Immersive Theater"

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Machon, Josephine. Immersive Theatres. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01985-1.

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Frieze, James, ed. Reframing Immersive Theatre. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-36604-7.

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Alston, Adam. Beyond Immersive Theatre. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48044-6.

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Biggin, Rose. Immersive Theatre and Audience Experience. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62039-8.

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Immersive Theatres. Palgrave Macmillan, 2013.

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Immersive Theatres Intimacy And Immediacy In Contemporary Performance. Palgrave Macmillan, 2013.

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Creating Worlds: How to Make Immersive Theatre. Hern Books, Limited, Nick, 2017.

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Ritter, Julia M. Tandem Dances. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.001.0001.

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Tandem Dances: Choreographing Immersive Performance proposes dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. The idea of tandemness—suggesting motion that is achieved by two bodies working together and acting in conjunction with one another—is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Ritter’s close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.
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Dinesh, Nandita. Immersive Theater and Activism: Scripts and Strategies for Directors and Playwrights. McFarland & Company, 2018.

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Szczepaniak-Gillece, Jocelyn. The Optical Vacuum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689353.001.0001.

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Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive urban movie palace to the intimate streamlined theater, movie theaters became “neutralized” spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. This book examines the impact of Schlanger’s work in the context of changing patterns of spectatorship; his theaters and writing propose that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. As such, this study insists that changing models of cinephilia are determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how twentieth-century viewing has similarly transformed. And by looking backward into cinema’s architectural history, 1970s screen theory becomes clearer as a historical in addition to a theoretical model; the emergence of the apparatus can be found in the immersive powers of the neutralized movie theater. In this book, exhibition practice takes its place as a force that propels spectatorship through time. Ultimately, space and viewing are revealed to be intertwined and mutually constitutive phenomena through which spectatorship’s discourses are all the more clearly seen.
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Book chapters on the topic "Immersive Theater"

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Townsend, Anthony M., and Brian E. Mennecke. "Virtual Worlds as Radical Theater: Extending the Proscenium." In The Immersive Internet, 65–76. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137283023_6.

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Grossman, Julie. "Adapting Time and Place: Avant-Garde Storytelling and Immersive Theater." In Literature, Film, and Their Hideous Progeny, 147–66. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137399021_8.

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Biggin, Rose. "Immersive Theatre, Immersive Experience." In Immersive Theatre and Audience Experience, 1–58. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62039-8_1.

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Alston, Adam. "Theatre in the Marketplace: Immaterial Production in Theatre Delicatessen’s Theatre Souk." In Beyond Immersive Theatre, 183–216. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48044-6_6.

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Machon, Josephine. "Conclusion: Immersive Theatres." In Immersive Theatres, 260–77. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01985-1_10.

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Machon, Josephine. "Introduction." In Immersive Theatres, 1–20. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01985-1_1.

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Machon, Josephine. "Definitions and Details." In Immersive Theatres, 21–49. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01985-1_2.

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Machon, Josephine. "Features and Finer Details: A Scale of Immersivity." In Immersive Theatres, 53–69. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01985-1_3.

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Machon, Josephine. "Immersive Perspectives." In Immersive Theatres, 70–102. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01985-1_4.

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Machon, Josephine. "Conversations one." In Immersive Theatres, 103–45. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01985-1_5.

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Conference papers on the topic "Immersive Theater"

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Beck, Stephen David. "The immersive computer-controlled audio sound theater." In SIGGRAPH 2009: Talks. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597990.1598031.

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Li, Sophia, Yazhou Huang, Vinh-Sang Tri, Johan Elvek, Samuel Wan, Jan Kjallstrom, Nils Andersson, Mats Johansson, and Dan Lejerskar. "Interactive theater-sized dome design for edutainment and immersive training." In VRIC '14: Virtual Reality International Conference - Laval Virtual 2014. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2617841.2620693.

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Simpson, James. "Live and Life in Virtual Theatre: Adapting traditional theatre processes to engage creatives in digital immersive technologies." In Proceedings of EVA London 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/eva2021.17.

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van der Linden, Janet, Yvonne Rogers, Maria Oshodi, Adam Spiers, David McGoran, Rafael Cronin, and Paul O'Dowd. "Haptic reassurance in the pitch black for an immersive theatre experience." In the 13th international conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2030112.2030133.

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Montagud, Mario, Jaume Segura-Garcia, J. Antonio De Rus, and Rafael Fayos Jordán. "Towards an Immersive and Accessible Virtual Reconstruction of Theaters from the Early Modern." In IMX '20: ACM International Conference on Interactive Media Experiences. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3391614.3399390.

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van Dam, Loes C. J., Abigail L. M. Webb, Liam D. B. Jarvis, Paul B. Hibbard, and Matthew Linley. "“The Mystery of the Raddlesham Mumps”: a Case Study for Combined Storytelling in a Theatre Play and Virtual Reality." In 2020 International Conference on 3D Immersion (IC3D). IEEE, 2020. http://dx.doi.org/10.1109/ic3d51119.2020.9376391.

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Bakk, ágnes Karolina. "Analogue and Digital Immersive Experiences: What should digital creators learn from live theatre makers?" In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.57.

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Springel, Sharon. "“The Virtual Theatre” immersive participatory drama research at the centre for communications systems research, Cambridge University." In the sixth ACM international conference. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/306774.306787.

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Foreman, David. "P51 Should immersive simulation be used for end-of-life education?" In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.143.

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