Relevant bibliographies by topics / Immersive theatre

Contents

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

Academic literature on the topic 'Immersive theatre'

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

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Journal articles on the topic "Immersive theatre"

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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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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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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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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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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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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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Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.

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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.
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Dissertations / Theses on the topic "Immersive theatre"

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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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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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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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Marková, Klotylda. "Produkční zajištění multimediálního projektu GOLEM." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-205566.

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The topic of this master thesis is an analysis of the multimedia project GOLEM, which has carried out two following results: theatrical one (GOLEM Štvanice) and audio-visual one (GOLEM Cube). The first part is focused on the specifics of the immersive theatre phenomenon, which was introduced in the Czech theatrical milieu for the very first time, and on the production procedure within the confines of the Prague theatre stage. The second part deals with audio-visual recording of a theatre peace, which takes place in an unconventional space, and then focuses on a technical method development for all movie-making fields with great emphasis on keeping the theatrical authenticity. It also deals with the specific system of installation within the particular space. Based on this case study of an immersive theatre performance and methodical approach to its audio-visual preservation this work develops some basic requirements that should lead to the successful results of similar future projects pointing out some possible application in other fields of practice.
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Rice, Andrea. "Rebooting Brecht: Reimagining Epic Theatre for the 21st Century." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555688903742283.

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McConville, David. "On the evolution of the heavenly spheres : an enactive approach to cosmography." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3530.

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The ability to view the world from multiple perspectives is essential for tackling complex, interconnected challenges. Yet conventional academic structures are designed to produce knowledge through ever-increasing specialization and compartmentalization. This fragmentation is often reinforced by tacit dualistic assumptions that prioritize linear thinking and abstract ways of knowing. Though the need for integrated approaches has been widely acknowledged, effective techniques for transcending disciplinary boundaries remain elusive. This thesis describes a practical strategy that uses immersive visualizations to cultivate transdisciplinary perspectives. It develops an enactive approach to cosmography, contending that processes of visualizing and interpreting the cosmos iteratively shape ‘views’ of the ‘world.’ The archetypal trope of the heavenly sphere is examined to demonstrate the significance of its interpretations in this history of ideas. Action research and mixed methods are employed to elucidate the theoretical considerations, cultural relevance, and practical consequences of this approach. The study begins with an investigation into the recurring appearance of the heavenly sphere across time, in which its embodied origins, metaphorical influence, and material embodiments are considered. Particular attention is given to how cosmographic tools and techniques have facilitated imaginary ‘flights’ through the heavens, from the ecstatic bird’s eye view of the shaman to the ‘Archimedean point’ of modern science. It then examines how these cosmographic practices have shaped cosmological beliefs and paradigmatic assumptions. Next, the practical utility of this approach is demonstrated through the development of cosmographic hermeneutics, a technique using visual heuristics to interpret cosmic models from transdisciplinary world views. Finally, the performative practice of cosmotroping is described, in which cosmographic hermeneutics are applied to re-imagine the ancient dream of the transcendent ‘cosmic journey’ within immersive vision theaters. This study concludes that the re-emergence of the heavenly sphere within the contemporary Digital Universe Atlas provides a leverage point for illuminating the complexity of knowledge production processes. It is claimed that this research has produced a practical strategy for demonstrating that the ultimate Archimedean point is the ability to recognize the limits of our own knowledge, a crucial first step in cultivating much-needed multi-perspectival and paradoxical spherical thinking.
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Cummings, Hannah Jane. "The politics of participatory performance : capitalism and identity." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/21922.

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This thesis is located within the discourse of contemporary, participatory performance. It offers a cultural materialist reading of the relationship between neoliberal capitalism and identity, and its adjunct community, to consider the extent to which participatory performance might challenge the individualistic aspects of the neoliberal ideology. The thesis questions what it means to participate in capitalist democracy in the contemporary moment, interrogates how one might exercise participatory agency both within and outside the theatre space and contemplates the function of participatory performance in a period of democratic discontent. I argue that the case-studies contribute to creating communities of individuals thinking about how to develop capitalist democracy in a more egalitarian direction. The thesis primarily employs close performance analysis of nine case-studies that all occurred in the period 2013-2014. These analyses occur across three chapters that each address a differing form of participation. Chapter One considers the significance of the re-presentation of performer acts of participation within demarcated theatre spaces, challenging the concept of the successfully, aspiring neoliberal identity. Chapter Two focuses on acts of audience participation invited within conventional theatre auditoriums to defamiliarise one’s motivations for acting or not. And Chapter Three centres on immersive performance experiences in which the audience member becomes the art object, inviting them to recognise their indebtedness to others. The thread that coheres this broad cross-section of participatory performance practices is their desire to use the act of participation and the platform of performance to reconceive of what it means to do politics by using artistic and cultural means. Collectively, the case-studies advocate the need for continued co-operation with others and the on-going co-creation of meaning, which eliminates knowing, outcome and end-result, to challenge instrumental understandings of political progress. The thesis conclusion asserts this point by considering the shared theatrical techniques employed across the case-studies that destabilise binary modes of thinking to enhance their ethico-political potential. It also reflects on this argument in light of the election of a majority Conservative (neoliberal) government in 2015.
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Books on the topic "Immersive theatre"

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

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Machamer, Josh, ed. Immersive Theatre: Engaging the Audience. Common Ground Research Networks, 2017. http://dx.doi.org/10.18848/978-1-61229-920-4/cgp.

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Memos from a Theatre Lab: Immersive Theatre & Time. Vernon Press, 2019.

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

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Memos from a Theatre Lab: Exploring What Immersive Theatre 'does'. Taylor & Francis Group, 2016.

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Dinesh, Nandita. Memos from a Theatre Lab: Spaces, Relationships, and Immersive Theatre. Vernon Press, 2018.

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Memos from a Theatre Lab: Spaces, Relationships, and Immersive Theatre. Vernon Press, 2018.

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Book chapters on the topic "Immersive theatre"

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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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Alston, Adam. "Introduction: Theatre as Experience Machine." In Beyond Immersive Theatre, 1–33. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48044-6_1.

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Alston, Adam. "Theatre in a Box: Affect and Narcissism in Ray Lee’s Cold Storage." In Beyond Immersive Theatre, 35–73. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48044-6_2.

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Alston, Adam. "Theatre in the Dark: Spectatorship and Risk in Lundahl & Seitl’s Pitch-Black Theatre." In Beyond Immersive Theatre, 75–107. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48044-6_3.

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Alston, Adam. "Theatre Through the Fireplace: Punchdrunk and the Neoliberal Ethos." In Beyond Immersive Theatre, 109–44. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48044-6_4.

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Alston, Adam. "Frustrating Theatre: Shunt in the Experience Economy." In Beyond Immersive Theatre, 145–81. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48044-6_5.

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Frieze, James. "Reframing Immersive Theatre: The Politics and Pragmatics of Participatory Performance." In Reframing Immersive Theatre, 1–25. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-36604-7_1.

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Ledger, Adam J. "Caravania!: Intimacy and Immersion for Family Audiences." In Reframing Immersive Theatre, 145–50. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-36604-7_11.

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Ramos, Jorge Lopes, and Persis Jade Maravala. "A Dramaturgy of Participation: Participatory Rituals, Immersive Environments, and Interactive Gameplay in Hotel Medea." In Reframing Immersive Theatre, 151–69. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-36604-7_12.

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Conference papers on the topic "Immersive theatre"

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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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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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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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Judd, Thomas, and Alexander Young. "P48 Virtual reality fully immersive interactive technology. Can this improve medical students’ preparedness for resuscitation?" 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.140.

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Judd, Thomas, Nicola Cook, and Ian Hunter. "TR1 Virtual reality fully immersive interactive technology. Can this enhance simulation training and reduce skill fade?" 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.67.

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Tallentire, Vicky, Ailsa Hamilton, Joanne Kerins, Katherine Leighton, Jerry Morse, and Angus Cooper. "W16 Developing the non-technical skills of medical students: using a behavioural marker system in immersive simulation." 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.91.

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Spath, Dieter, Wilhelm Bauer, and Manfred Dangelmaier. "Virtual Service System Engineering." In ASME 2008 9th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2008. http://dx.doi.org/10.1115/esda2008-59213.

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Abstract:
Virtual Engineering is well-known in product design and widely in use i. e. in the automotive industry. The “frontloading” approach uses simulation and visualization to improve planning and communication in the early phases of product development processes. Benefits are: more efficient development processes, better development quality in early stages, and avoidance of error costs. This contribution presents an extension to this approach: Virtual Service System Engineering. It is intended to precede the more traditional product development. The product is considered in a generalized way as hardware and/or software and/or service. The lab environment ServLab at Fraunhofer IAO for the development of such generalized products is described. ServLab combines a team room for service process engineering (1), an immersive 3D-interactive virtual environment for rapid prototyping of generalized products (2), and a stage for performing Service Theatre as part of the development and evaluation process (3). As pilot application project on redesigning the hotel check-in is presented and first experiences are reported.
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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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