Journal articles: 'Immersive Theater'

1

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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Mitchell, Erik T. "The Theater of Information Engagement: Designing Immersive Information Experiences in Libraries." Journal of Web Librarianship 7, no. 3 (July 2013): 343–48. http://dx.doi.org/10.1080/19322909.2013.813278.

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Purvis, Denise. "Creating Thinking: Immersive Dance Theater as 4E Cognition in the Wild." Journal of Dance Education 21, no. 3 (July 3, 2021): 149–57. http://dx.doi.org/10.1080/15290824.2021.1928675.

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Allen, David, Rahul R. Divekar, Jaimie Drozdal, Lilit Balagyozyan, Shuyue Zheng, Ziyi Song, Huang Zou, et al. "The Rensselaer Mandarin Project — A Cognitive and Immersive Language Learning Environment." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 9845–46. http://dx.doi.org/10.1609/aaai.v33i01.33019845.

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The Rensselaer Mandarin Project enables a group of foreign language students to improve functional understanding, pronunciation and vocabulary in Mandarin Chinese through authentic speaking situations in a virtual visit to China. Students use speech, gestures, and combinations thereof to navigate an immersive, mixed reality, stylized realism game experience through interaction with AI agents, immersive technologies, and game mechanics. The environment was developed in a black box theater equipped with a human-scale 360◦ panoramic screen (140h, 200r), arrays of markerless motion tracking sensors, and speakers for spatial audio.

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Moscoso, Mildred O., Ana Katrina P. de Jesus, Renz Frances D. Abagat, Edmund G. Centeno, Rhodora Ramonette D. V. Custodio, John Mervin L. Embate, Elijah Jesse Mendoza Pine, et al. "The eve of the 1896 revolution: experiencing Philippine history through immersive and gamified learning." Asian Association of Open Universities Journal 15, no. 1 (May 23, 2020): 115–30. http://dx.doi.org/10.1108/aaouj-08-2019-0030.

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PurposeKatipuneros RPG: Bisperas ng Himagsikan (Katipuneros RPG: The Eve of the Revolution) is an immersive and gamified theater that engages its “audiences” in the initiation rites of a secret revolutionary movement in the Philippines in 1896. This descriptive qualitative research evaluates such experiential approach to learning history by investigating the experiences and insights of a group of students from the University of the Philippines Los Baños (UPLB), who participated in Katipuneros RPG.Design/methodology/approachTextual data obtained from the participants' reflection papers and focus group discussion transcripts were analyzed using open and axial coding.FindingsThree key themes summarized the participants' learning experiences as they went through the play, as follows: (1) Katipuneros RPG as an immersive, interactive and intrinsically motivating medium for learning history; (2) the knowledge, values and skills that served as facilitating factors for their learning and (3) the insights the participants gained about history and life in general.Practical implicationsThe research argues that in Katipuneros RPG, learners take on a more active role in studying history as the “teacher” vanishes in lieu of a learning system the allows students to think critically, reflect and collaborate. The approach integrates elements of development theater, immersive play and gamified learning, as well as the principles of constructivist, play-based and multi-sensorial learning.Social implicationsAs an innovative learning tool, it is a viable medium to teach history in the current socio-political context of the Philippines.Originality/valueThe study hopes to contribute to literature on pedagogical approaches for teaching and learning history through immersive environments.

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Li, Huiyu, Shisheng Zhou, Fan Zhang, and Chenglei Yang. "Immersive VR Theater with Multi-device Interaction and Efficient Multi-user Collaboration." Procedia Computer Science 147 (2019): 468–72. http://dx.doi.org/10.1016/j.procs.2019.01.274.

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Yu, Ka Chun, Kamran Sahami, Victoria Sahami, and Larry C. Sessions. "Using A Digital Planetarium For Teaching Seasons To Undergraduates." Journal of Astronomy & Earth Sciences Education (JAESE) 2, no. 1 (June 1, 2015): 33. http://dx.doi.org/10.19030/jaese.v2i1.9276.

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Computer-generated simulations and visualizations in digital planetariums have the potential to bridge the comprehension gap in astronomy education. Concepts involving three-dimensional spatial relationships can be difficult for the layperson to understand, since much of the traditional teaching materials used in astronomy education remain two-dimensional in nature. We study the student performance after viewing visualizations in an immersive theater and in non-immersive classrooms for the topic of seasons in an introductory undergraduate astronomy course. Using weekly multiple-choice quizzes to gauge student learning, comparison of curriculum tests taken immediately after instruction and pre-instruction quizzes show a significant difference in the results of students who viewed visualizations in the planetarium versus their counterparts who viewed non-immersive content in their classrooms, and those in the control group that saw no visualizations whatsoever. These results suggest that the immersive visuals help by freeing up cognitive resources that can be devoted to learning, while visualizations shown in the classroom may be an intrinsically inferior experience for students.

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Orenstein, Daniel E., Hagit Zimroni, and Efrat Eizenberg. "The immersive visualization theater: A new tool for ecosystem assessment and landscape planning." Computers, Environment and Urban Systems 54 (November 2015): 347–55. http://dx.doi.org/10.1016/j.compenvurbsys.2015.10.004.

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Dacombe, Rod, and Elizabeth A. Morrow. "Developing Immersive Simulations: The Potential of Theater in Teaching and Learning in Political Studies." PS: Political Science & Politics 50, no. 01 (January 2017): 209–13. http://dx.doi.org/10.1017/s1049096516002456.

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ABSTRACT Innovative teachers of political science have frequently moved beyond the confines of conventional teaching formats to better engage students with the demands of the discipline. In particular, the use of simulations has been proposed as an alternative to passive, lecture-based techniques, and a growing literature examines their value and efficacy. This article contributes to the literature by describing the development of a simulation that draws on the principles of immersive theater in an attempt to maximize participation while encouraging students to think critically about political concepts and ideas.

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Zhang, Xian, and Qi Xue. "Analysis of Application Scenarios of Electronic Decision Theater in the Military Field." E3S Web of Conferences 290 (2021): 03024. http://dx.doi.org/10.1051/e3sconf/202129003024.

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The Decision Theater(DTs) is an immersive collaborative decision-making visualization solution, which plays a very important role in improving the scientific level of decision making. Based on the analysis of the technical origins, design concepts, application fields, and technical characteristics of the DTs, a general system architecture for the DTs for the military field is proposed, four typical application scenarios were discussed, including drafting and argumentation of major military decisions, simulation of military action plans, training of senior commanders’ professional skills, and emergency response decision-making, which is of great value for improving the scientific nature of military decision-making.

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Kolesch, Doris. "Vom Reiz des Immersiven." Paragrana 26, no. 2 (November 27, 2017): 57–66. http://dx.doi.org/10.1515/para-2017-0020.

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AbstractAm Beispiel immersiver Situationen untersucht der Beitrag Verflechtungen zwischen alltäglichen ästhetischen Formationen und performativen Künsten. Denn sowohl in der Theater- und Performancekunst als auch in einem weiten Spektrum von Arbeits-, Konsum- und Erlebniswelten gewinnt Immersion als Erfahrung der Verflüssigung von Grenzen und Räumen zunehmend an Bedeutung. Der Text charakterisiert wesentliche Aspekte immersiver Theaterformen, erläutert kritisch etablierte Konzepte von Immersion und zeigt am Beispiel des Smartphone- und Tabletspiels Pokémon Go das Eindringen des Immersiven in den mediatisierten Alltag. Abschließend wird die seismografische Signifikanz des Immersiven für die Gegenwart reflektiert, insofern Immersion ein neues epistemologisches Verständnis von Subjekt und Welt sowie einen neuen Zugang zu ihr anzuzeigen scheint.

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FEHN, C., C. WEISSIG, I. FELDMANN, M. MÜLLER, P. EISERT, P. KAUFF, and H. BLOSS. "CREATION OF HIGH-RESOLUTION VIDEO PANORAMAS FOR SPORT EVENTS." International Journal of Semantic Computing 01, no. 02 (June 2007): 171–84. http://dx.doi.org/10.1142/s1793351x07000135.

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This paper describes an approach for creating high-resolution video panoramas of large-scale sport events. In an exemplary football scenario, we used two ARRIFLEX D-20 "film-style" digital cameras to capture both sides of the playing field as well as large parts of the stands. From the recorded left and right view images, we created a joint panoramic view with a resolution of 5016 × 1400 pel (5k) using sophisticated image processing algorithms. These highly immersive football panoramas were screened with our modular, high-resolution multi-projection system during the FIFA World Cup 2006 in a 600 seat CinemaxX movie theater in Berlin, providing the viewers with the feeling of actually watching the game from a good seat on the stands.

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Spiers, Adam J., Janet van der Linden, Sarah Wiseman, and Maria Oshodi. "Testing a Shape-Changing Haptic Navigation Device With Vision-Impaired and Sighted Audiences in an Immersive Theater Setting." IEEE Transactions on Human-Machine Systems 48, no. 6 (December 2018): 614–25. http://dx.doi.org/10.1109/thms.2018.2868466.

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Bloom, Gina, Sawyer Kemp, Nicholas Toothman, and Evan Buswell. ""A whole theater of others": Amateur Acting and Immersive Spectatorship in the Digital Shakespeare Game Play the Knave." Shakespeare Quarterly 67, no. 4 (2016): 408–30. http://dx.doi.org/10.1353/shq.2016.0054.

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White, Dave D., Amber Wutich, Kelli L. Larson, Patricia Gober, Timothy Lant, and Clea Senneville. "Credibility, salience, and legitimacy of boundary objects: water managers' assessment of a simulation model in an immersive decision theater." Science and Public Policy 37, no. 3 (April 1, 2010): 219–32. http://dx.doi.org/10.3152/030234210x497726.

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Kolesch, Doris. "Theaterpublikum – das unbekannte Wesen. Annäherungen an eine vernachlässigte Figur." itw : im dialog 3 (March 6, 2019): 14–33. http://dx.doi.org/10.16905/itwid.2018.1.

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Nicht erst mit der Performance-Kunst seit den 1960er-Jahren findet eine künstlerische Befragung der Rolle und Funktion des Publikums statt. Das gesamte 20. Jahrhundert ist in den performativen Künsten gekennzeichnet durch eine Erprobung, eine Veränderung und Hinterfragung dessen, was ein Publikum ist und was ein Publikum tun sollte oder auch nicht. So forderte schon Bertolt Brecht eine neue »Zuschaukunst«, wollte Antonin Artaud die Zuschauer_innen in »ein elektrisches Seelenbad, drin der Intellekt periodisch gehärtet wird«, tauchen und transformierte die Performance-Kunst die Zuschauer_innen zu aktiven Teilnehmer_innen und Mitspieler_innen. Diese Erkundung ist noch längst nicht abgeschlossen, wie beispielsweise aktuelle immersive Aufführungsformate zeigen. Doch trotz der praktischen wie theoretischen Relevanz, die dem Publikum im Theater des 20. und beginnenden 21. Jahrhunderts zukommt, weiß die Theaterwissenschaft relativ wenig über das Publikum und konstruieren aufführungsanalytische Ansätze häufig eine idealisierte Zuschauinstanz. Noch immer gilt mithin für die Theaterwissenschaft, was Dennis Kennedy 2009 in seiner Studie The Spectator and the Spectacle. Audiences in Modernity and Postmodernityvermerkte: Der Zuschauende sei »a pale hypothetical inference in the commentator’s imagination.« Es ist an der Zeit, Theaterwissenschaft auch als Publikumsforschung zu verstehen. Der Beitrag skizziert an ausgewählten Beispielen aus der Theater- und Performancegeschichte vom 18. bis zum 21. Jahrhundert wesentliche Veränderungen des Verhältnisses zwischen theatralem Geschehen und Publikum sowie unterschiedliche Konzepte und Praktiken theatraler Wahrnehmung. Auf dieser Grundlage werden Perspektiven einer theaterwissenschaftlichen Publikumsforschung umrissen.

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Agha, Riaz A., and Alexander J. Fowler. "The Role and Validity of Surgical Simulation." International Surgery 100, no. 2 (February 1, 2015): 350–57. http://dx.doi.org/10.9738/intsurg-d-14-00004.1.

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In the last three decades, simulation has become a key tool in the training of doctors and the maintenance of patient safety. Simulation offers an immersive, realistic way of learning technical skills. Recent changes to the training schemes in many surgical specialities mean that the hours spent working between senior house officer and consultant have been reduced. This, combined with other pressures (such as reduced operating hours), means that surgery has moved away from its traditional apprenticeship model and toward a competency-based one. Simulation can be a standardized and safe method for training and assessing surgeons. Use of simulation for training has become significant alongside the development of laparoscopic techniques, and evidence suggests that skills obtained in simulation are applicable in real clinical scenarios. Simulation allows trainees to make mistakes, to ask the “what if?” questions, and to learn and reflect on such situations without risking patient safety. Virtual reality simulators have been used to allow experts to plan complicated operations and assess perioperative risks. Most recently, fully immersive simulations, such as those with whole theater teams involved, and patient-centered simulations allow development of other key skills aside from purely technical ones. Use of simulation in isolation from traditional teaching methods will furnish the surgeon in training with skills, but the best time and place to use such skills comes only with experience. In this article we examine the role of simulation in surgical training and its impact in the context of reduced training time.

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Freitag, Lori, and Timothy Urness. "Analyzing Industrial Furnace Efficiency Using Comparative Visualization in a Virtual Reality Environment." Journal of Manufacturing Science and Engineering 124, no. 2 (April 29, 2002): 456–61. http://dx.doi.org/10.1115/1.1445150.

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We describe an interactive toolkit used to perform comparative analysis of two or more data sets arising from numerical simulations. Several techniques have been incorporated into this toolkit, including (1) successive visualization of individual data sets, (2) data comparison techniques such as computation and visualization of the differences between data sets, and (3) image comparison methods such as scalar field height profiles plotted in a common coordinate system. We describe each technique in detail and show example usage in an industrial application aimed at designing an efficient, low-NOx burner for industrial furnaces. Critical insights are obtained by interactively adjusted color maps, data culling, and data manipulation. New paradigms for scaling small values in the data comparison technique are described. The display device used for this application is the CAVE virtual reality theater, and we describe the user interface to the visualization toolkit and the benefits of immersive 3D visualization for comparative analysis.

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Ryu, Jung-Hee, Ah-Young Oh, Hee-Jeong Yoo, Jin-Hee Kim, Jin-Woo Park, and Sung-Hee Han. "The effect of an immersive virtual reality tour of the operating theater on emergence delirium in children undergoing general anesthesia: A randomized controlled trial." Pediatric Anesthesia 29, no. 1 (November 25, 2018): 98–105. http://dx.doi.org/10.1111/pan.13535.

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Biggin, Rose. "Labours of Seduction in Immersive and Interactive Performance." New Theatre Quarterly 36, no. 1 (February 2020): 73–83. http://dx.doi.org/10.1017/s0266464x20000111.

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Much theatrical work that calls itself ‘immersive’ uses tropes of the erotic to achieve its intended effects. In this article Rose Biggin identifies structural and performative strategies in the use of the erotic in this genre. What does it mean to identify the process of performed seduction as central to much immersive dramaturgy? Through readings of contemporary productions that draw upon (or appropriate) pre-existing erotically charged environments, the inevitable responsibilities for makers working in this context of immersion are considered, as is the importance of considering the consequences for those working in immersive spaces. Stress is laid on the crucial role that this form of performative labour often plays in immersive performance, and a continued recognition of its influence is emphasized. Rose Biggin is an independent scholar and theatre artist based in London. She received her PhD from the University of Exeter, researching audience immersion and the work of Punchdrunk, and both writes and makes work on gender, history, and language. She is author of Immersive Theatre and Audience Experience (2017).

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Markov, Alexander. "Rubens in Russian poetry: from ecfrasis to ideology and vice versa." Literatūra 61, no. 2 (December 15, 2019): 150–61. http://dx.doi.org/10.15388/litera.2019.2.11.

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Although the name of Rubens was included in the canon of well-known Western European artists in the Russian 18 century and his style was quite recognizable, an appeal to the artistic poetics of Rubens was rare, and Rubens’s eccentricities, created by Valery Bryusov and Nikolai Oleinikov, are full of ambiguities and obscure places. The article clears up all these obscurities based on the enlightening notion of Rubens as an artist capable of only a local mimesis, of portraying the life of Flanders, but not of a classic imitation of nature. This thesis was adopted by Pushkin and Dostoevsky and gradually acquired a moralistic and historicist meaning: Rubens depicts the characters, not the nature of a person, which means that he portrays the vice mainly and draws the viewer into the vicious circle of vice. The reevaluation of Baroque art at the beginning of the 20th century and the symbolists’ dreams of immersive theater required a different look at the audience’s involvement, thereby turning Rubens into an artist who could simulate the revolutionary activity of the crowd. At the same time, Pushkin’s idea of Rubens as an artist of arbitrariness, and not freedom, supported by the cultural image of Paul I as a collector of Rubens, was retained in Russian literature of the twentieth century.

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Paston, Eleonora. "The “Dilettantism” of Savva Mamontov in Russian Art." Experiment 25, no. 1 (September 30, 2019): 33–52. http://dx.doi.org/10.1163/2211730x-12341328.

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Abstract This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s among the community of artists who gathered around the prominent industrialist and philanthropist Savva Mamontov, a man of diverse talents, who astutely intuited new trends in art. This group of artists came to be known as the Abramtsevo artistic circle, after the name of Mamontov’s country estate located just outside of Moscow, where the vast majority of their artistic activities took place. In Abramtsevo’s informal, creative atmosphere ideas for new aesthetic projects spontaneously materialized across a range of different artistic spheres—theater, architecture, decorative, and applied arts—in which members of the circle were essentially amateurs. But it is precisely in these areas that the artists would make their most significant contributions. Thus, the first seeds of a novel understanding of theatrical production as a single immersive entity were initially sown on the amateur stage of the Abramtsevo estate and subsequently fully blossomed in Mamontov’s Private Opera (1885-91; 1896-99), which played a foundational role in the development of Russian musical theater. The Church of the Spas nerukotvornyi [Savior Not Made by Human Hands], built by members of the Abramtsevo circle (1881-82), became the first exemplar of the Neo-Russian style in the history of Russian architecture, an important constituent of stil modern or Russian Art Nouveau. The activities of the kustar workshops in Abramtsevo—the carpentry workshop (1885) and the Abramtsevo ceramic studio (1890)—made a significant contribution to the development of the applied arts and industrial design in Russia, leading to their “rebirth” on a national level.

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Hamana, Emi. "A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 13–26. http://dx.doi.org/10.18778/2083-8530.21.02.

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Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.

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Hamana, Emi. "A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 13–26. http://dx.doi.org/10.18778/2083-8530.21.02.

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Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.

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Kwan, Kevin, Julia R. Schneider, Victor Du, Lukas Falting, John A. Boockvar, Jonathan Oren, Mitchell Levine, and David J. Langer. "Lessons Learned Using a High-Definition 3-Dimensional Exoscope for Spinal Surgery." Operative Neurosurgery 16, no. 5 (August 14, 2018): 619–25. http://dx.doi.org/10.1093/ons/opy196.

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Abstract BACKGROUND The operative microscope has significantly advanced modern neurosurgical spine surgery but continues to be limited by high costs, suboptimal optics, poor ergonomics, and difficulties with maneuverability. We believe the novel 4K high-definition (4K-HD) 3-dimensional (3D) exoscope (EX), may improve the surgical corridor through advancements in illumination, ergonomics, magnification, and depth of field and has the potential to be utilized in neurosurgical education and training. OBJECTIVE To evaluate the surgical potential of a novel 3D EX system in spinal surgery. METHODS Retrospective analysis over 6 mo of all patients who have undergone spinal surgery at Northwell Health using the 3D EX. Nuances of surgical theater positioning, advantages/disadvantages of the EX and clinical sequelae of the patients were analyzed. RESULTS All 10 patients who underwent spinal surgery utilizing the EX experienced excellent surgical and clinical outcomes without complications. The low-profile EX allowed for excellent operative corridors and instrument maneuverability. The large monitor also resulted in an immersive surgical experience, and gave team members the same 3D vision as the operator. CONCLUSION This study demonstrates the feasibility of utilizing the 3D 4K-HD EX system and highlights potential technical assets of this novel technology in regard to optics, ergonomics, and maneuverability. Further clinical research is needed to examine the clinical effectiveness of the EX system for different surgical approaches through quantitative methodology.

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Leuner, Kirstyn. "Novel Technologies: The Holyrood Chapel Diorama in James Hogg’s Confessions of a Justified Sinner." Nineteenth-Century Literature 73, no. 4 (March 1, 2019): 437–61. http://dx.doi.org/10.1525/ncl.2019.73.4.437.

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Kirstyn Leuner, “Novel Technologies: The Holyrood Chapel Diorama in James Hogg’s Confessions of a Justified Sinner” (pp. 437–461) This essay argues that there is a diorama remediated within James Hogg’s experimental Scottish Gothic novel, The Private Memoirs and Confessions of a Justified Sinner (1824). Invented in 1822, the diorama was a popular multimedia theater experience comprised of a mural-sized immersive and realistic painting as well as a printed booklet describing the scene. Together, the view and booklet imaginatively transport the diorama’s audience to the depicted location. The diorama in Hogg’s novel is Louis Daguerre’s “Ruins of Holyrood Chapel, a Moonlight Scene” (1823), which places the viewer within the crumbling abbey at Holyrood Palace, Edinburgh, at night, among the tombs of Scottish nobles and royalty buried there. With its remediated Holyrood diorama, Confessions of a Justified Sinner prompts readers and characters, much like diorama-goers, to test their surroundings and determine where reality ends and the screen of illusion begins. Such reality-testing reveals characters’ and readers’ present moments to be part of, not detached from, the history of the ruined Holyrood Chapel and graveyard, the fractured identity of Scots, and the reception and retelling of their stories. Further, reality-testing draws attention to the media that construct one’s sense of self, the present, and the past, and these include not only the newer technology of the diorama, but also that of the novel in the late-Romantic period.

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WHITE, GARETH. "On Immersive Theatre." Theatre Research International 37, no. 3 (September 4, 2012): 221–35. http://dx.doi.org/10.1017/s0307883312000880.

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This article considers what might be implied in the term ‘immersive theatre’, asking what kinds of ‘interior’ audiences are invited to become immersed in. To facilitate my argument I draw on performances by two London-based theatre companies, Shunt and Punchdrunk, as examples of immersive theatre which use architectural interiors: extensive environments which audiences explore in order to find the performance, and sometimes to give performances themselves. I begin with a description of how these physical interiors and the audience member's movement through them becomes part of the dramaturgy of the work, before moving on to a critique of the term ‘immersive’. This critique is initially based on analysis of its metaphorical character, using an approach derived from cognitive linguistics, and is developed through Josephine Machon's (syn)aesthetics and Heidegger's phenomenological aesthetics.

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Zeiger, Joshua, Anthony Costa, Joshua Bederson, Raj K. Shrivastava, and Alfred M. C. Iloreta. "Use of Mixed Reality Visualization in Endoscopic Endonasal Skull Base Surgery." Operative Neurosurgery 19, no. 1 (December 6, 2019): 43–52. http://dx.doi.org/10.1093/ons/opz355.

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Abstract BACKGROUND Neuronavigation systems assist with spatial orientation during endoscopic transnasal skull base surgery, but they require a correlation of 3-dimensional (3D) views with 2-dimensional (2D) radiology studies. OBJECTIVE To outline an initial experience with a novel technology platform that provides intraoperative navigation using 3D reconstructions of patient anatomy for endoscopic surgery. METHODS A retrospective study of endoscopic anterior skull base and complex paranasal procedures was performed. Data from preoperative computed tomography and magnetic resonance imaging scans were fused to create 3D digital models of patient anatomy. Using the technology developed by Surgical Theater (Mayfield Village, Ohio), these reconstructions were designed to highlight particular anatomic regions of interest. The models were studied to guide the surgical approach and anticipate critical structures. The reconstructions were linked with the navigational technology created by Brainlab (Munich, Germany) during endoscopic surgery. A dynamic image of the reconstruction was displayed alongside a matching endoscopic camera view. These 2 views could be overlaid to provide an immersive, mixed reality image of the patient's anatomy. RESULTS A total of 134 cases were performed. The pathologies included tumors of the anterior skull base or sinonasal cavity, inflammatory sinus disease, and cerebrospinal fluid leaks. Specific anatomic structures, such as the internal carotid arteries and optic nerves, were chosen for enhancement. Surgeons felt that the technology helped to guide the extent of bony dissection and to identify critical structures. CONCLUSION We describe the first clinical series of complex skull base pathologies treated using a novel mixed reality platform.

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Patsunov, V. "Conceptual basis of the art of “Theatre of Shock”." Culture of Ukraine, no. 72 (June 23, 2021): 131–35. http://dx.doi.org/10.31516/2410-5325.072.18.

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The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it. The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bring the audience to a state of shock. The results. For the first time in art criticism, an analysis of the generalization and systematization of director’s tools and ways was carried out, the creation of a “shock” for the creation of theatrical art. The concept proposed by the author crowns the triangle that, together with the art of “dissimulation theatre” and the art of “excitement theatre”, is the technological trinity of theatrical art: dissimulation — excitement — shock. The study conducted by the author gives grounds to conclude that the creation of theatrical performances, belonging to the art of the highest spiritual and emotional level — to the art of “theatre of shock”, is possible if such fundamental components as: sealed module of dramaturgy, “muscles” of play events, scenographic directing, metaphorical vocabulary, means of psychological theater and energy field of actors’ “emission” are embodied in the stage space. The model of the “theater of shock” assumes complete domination over the emotions of the spectator, the deepest immersion in the whirlpool of dramatic events and bringing to a deep trance with a powerful energy field of emission. The topicality. This paper contains such terms as “theater of shock”, “theater of trance”, “scenographic directing”, “molecular directing” are introduced into scientific circulation. The practical significance. Scientific development of ways, methods and means of creating the “theater of shock” as a kind of the most powerful energy and philosophical-typical level can be implemented in the educational process. Along with this presentation the concept of “theater of shock” can have its continuation in the theses of students with degrees in the field of art history, opens the prospect of updating the theatrical palette.

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Kalu, Joy Kristin. "SIGNAs ganz normaler Wahnsinn." Paragrana 26, no. 2 (November 27, 2017): 67–79. http://dx.doi.org/10.1515/para-2017-0021.

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AbstractDer Artikel ist der Inszenierung und Evokation von Alltäglichkeit in der Theater-Installation Ventestedet von SIGNA gewidmet, einem partizipativen Klinik-Setting, in dem die ZuschauerInnen zu PatientInnen werden und sich einer Reihe von medizinischen und psychologischen Tests und Übungen aussetzen. In meiner Analyse des immersiven Settings fokussiere ich das Eintauchen von DarstellerInnen und BesucherInnen in ihre Rollen. Trotz aller Unterschiede dominiert in beiden Fällen ein Modus der Verkörperung, der zur strategischen Hervorbringung spezifischer Alltäglichkeit führt. Die resultierende Spielform untersuche ich als Rollenspiel, das die BesucherInnen für den kommenden außertheatralen Alltag konditioniert und dabei Parallelen zu Verfahren des angewandten Theaters aufweist.

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Gordon, Colette. "Pedestrian Shakespeare and Punchdrunk's Immersive Theatre." Cahiers Élisabéthains 82, no. 1 (November 2012): 43–50. http://dx.doi.org/10.7227/ce.82.1.7.

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Carlson, Marvin. "Immersive Theatre and the Reception Process." Forum Modernes Theater 27, no. 1-2 (2012): 17–25. http://dx.doi.org/10.1353/fmt.2012.0002.

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Holmberg, Jan. "Ideals of Immersion in Early Cinema1." Cinémas 14, no. 1 (September 9, 2004): 129–47. http://dx.doi.org/10.7202/008961ar.

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Abstract With the cliché of allegedly “primitive” cinema spectators fleeing the theatre in fear of onrushing train as a point of departures, this article investigates various immersive and stereoscopic strategies in early cinema. Although the three-dimensional or virtual qualities of, for example, phantom rides, Hale’s Tours, and early tracking shots have often been discussed, the notion of a “virtual reality avant la lettre” merits a fuller investigation. Through different technological, textual and discursive strategies, much early cinema can be seen to create a strong sense of presence or immersion that is, with the use of spectacle and engagement radically different than the sense of “identification” crucial to the later classical style.

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Tepperman, Julie, and Mitchell Cushman. "BRANTWOOD: Canada’s Largest Experiment in Immersive Theatre." Canadian Theatre Review 173 (January 2018): 9–14. http://dx.doi.org/10.3138/ctr.173.002.

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Roche, Jenny. "Decoding the Political Implications of Immersive Theatre." Performance Research 22, no. 3 (April 3, 2017): 138–40. http://dx.doi.org/10.1080/13528165.2017.1348670.

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Howson-Griffiths, Teri. "Locating sensory labyrinth theatre within immersive theatres' history." Studies in Theatre and Performance 40, no. 2 (September 9, 2019): 190–205. http://dx.doi.org/10.1080/14682761.2019.1663649.

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Mendes, Aysha. "Immersive theatre for the person living with dementia." Nursing and Residential Care 18, no. 6 (June 2, 2016): 325–27. http://dx.doi.org/10.12968/nrec.2016.18.6.325.

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Miga, Michael I., and Robert F. Labadie. "A Novel Clinically Immersive Pre-doctoral Training Program for Engineering in Surgery and Intervention: Initial Realization and Preliminary Results." Biomedical Engineering Education 1, no. 2 (June 7, 2021): 259–76. http://dx.doi.org/10.1007/s43683-021-00051-2.

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AbstractA novel pre-doctoral program is presented that combines (1) immersive observation in the surgical/interventional theatre and (2) thought-provoking exposition activities focused on answering clinically provocative questions. While the long-term goal is to train engineers to conduct clinical translational research in human systems, in this paper, perceived trainee improvements are assessed in: (1) their ability to pose important questions in surgery and intervention, (2) their knowledge of surgical technologies, and (3) their understanding of procedural medicine. The program combines constructivist and constructionist learning approaches through a dual-course suite consisting of: (1) a scaffold lecture design with ten physicians presenting their procedural specialties interleaved with lectures relating engineering principles, and (2) a second course with clinically mentored immersion experiences in the operating room/interventional suite, clinical conferences, and patient rounds. Details of the complementing technical core and learning environment are also provided. Preliminary data reports on the quantitative experiential clinical involvement and on a self-reported survey over 5 cohorts of trainees (n = 18). With respect to immersion, the average surgeries/interventions observed, number of different types, and clinical contact time per student was on average 15.6 ± 7.9 surgeries/interventions, 8.2 ± 3.6 types, and 48.2 ± 14.7 contact hours, respectively. With respect to trainee understanding of procedural medicine, surgical technologies, and value of clinical observation, an average perceived improvement of 41%, 38%, and 41% over the course series was detected, respectively (p < 0.001). Equally impressive, when rating ability to pose important questions affecting human health, an average perceived improvement of 34% was detected (p < 0.001). The preliminary realization of a novel pre-doctoral clinically immersive training program for engineering trainees is described and demonstrates extensive levels of clinical contact and strong evidence that the provided immersion experiences result in significant improvements in understanding of procedural medicine.

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Hopkins, Mark, and Charles Netto. "Gargantuan: The Thrills and Challenges of Creating Immersive Theatre." Canadian Theatre Review 173 (January 2018): 53–58. http://dx.doi.org/10.3138/ctr.173.009.

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Dove, Toni. "Theater without Actors: Immersion and Response in Installation." Leonardo 27, no. 4 (1994): 281. http://dx.doi.org/10.2307/1575994.

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Park, Changhoon, Sang Chul Ahn, Yong-Moo Kwon, Hyoung-Gon Kim, Heedong Ko, and Taiyun Kim. "Gyeongju VR Theater: A Journey into the Breath of Sorabol." Presence: Teleoperators and Virtual Environments 12, no. 2 (April 2003): 125–39. http://dx.doi.org/10.1162/105474603321640905.

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We have built the world's largest virtual reality (VR) theater for the Gyeongju World Culture EXPO 2000. The VR theater is characterized by a huge shared VR space with tightly coupled user inputs from 651 audience members in real time. The shared 3D virtual environment is augmenting the physical audience space in harmony. Large computer-generated passive stereo images on a huge cylindrical screen provide the sensation of visual immersion. The theater also provides 3D audio, vibration, and olfactory display as well as the keypads for each of the audience members to interactively control the virtual environment. This paper introduces the issues raised and addressed during the design of a versatile VR theater, the production process, and the presentation techniques using the versatile display and interaction capability of the future theater.

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Journal articles on the topic 'Immersive Theater'

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