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Books on the topic 'Immersive theatre'

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

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1

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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2

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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3

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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4

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

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5

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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6

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

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7

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

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8

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

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9

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

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10

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

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11

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

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Tandem Dances: Choreographing Immersive Performance proposes dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. The idea of tandemness—suggesting motion that is achieved by two bodies working together and acting in conjunction with one another—is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Ritter’s close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.
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12

Biggin, Rose. Immersive Theatre and Audience Experience: Space, Game and Story in the Work of Punchdrunk. Palgrave Macmillan, 2017.

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13

Biggin, Rose. Immersive Theatre and Audience Experience: Space, Game and Story in the Work of Punchdrunk. Springer, 2018.

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14

Crossley, Mark, and James Yarker. Devising Theatre with Stan’s Cafe. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474267083.

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Since it was founded in 1991, British theatre company Stan’s Cafe has garnered an international reputation for artistic innovation, and prolific, eclectic performance projects. Their work has toured nationally and internationally, with 2003's Of All The People In All The World having been performed in over fifty cities around the world. Embracing site-specific, immersive, durational, non-text-based as well as scripted work, Stan's Cafe's portfolio defies simple categorization. Running through all their work however is a collaborative devising process that champions a playful experimentation with form. Devising Theatre with Stan’s Cafe reveals and reflects on their theatre-making process, providing an illuminating and accessible account of their work and the approaches, techniques and philosophies which underpin and inspire it. Co-authored by artistic director James Yarker and Dr Mark Crossley, the book is places their work within wider context of contemporary theatre and is the perfect companion to anyone looking to make their own original theatre or performance work. For theatre students, fans and theatre-makers, Devising Theatre with Stan’s Cafe is an inspiring account and practical guide to contemporary performance practice
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15

Meyer, Petra Maria. Sound, Image, Dance, and Space in Intermedial Theatre. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.42.

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The chapter focuses philosophically on theatre as one of the acoustic spaces for staging in which sound design acquires an ever higher status in an advanced technical intermedia interplay. Theatre-dramaturgy is transformed into intermedial dramaturgy. The author notes a fundamental “acoustic turn” in theatre, which locates compositional processes within new audiovisual interplays. “ICH2 Intermedial Dance Performance for Planetaria” (2005–2006)—a cutting-edge hybrid form of theatre using advanced digital technologies—is discussed. The performance combines expressive body movements, 360° interactive motion graphics, and sound. In this way “ICH²” is a unique piece of the emerging genre called digital theatre, in which technology enables alterable and immersive stage settings and a new acoustic space. The author explores Merleau Ponty’s conception of embodiment, Lacan’s conception of the “imaginary turn,” and aesthetic innovations in the domain of scenography, thus reflecting historical, theoretical, aesthetical, and practical aspects.
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16

Immersive Theatres. Palgrave Macmillan, 2013.

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17

Prince, Kathryn. Intimate and Epic Macbeths in Contemporary Performance. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.29.

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The recent performance history of Macbeth illustrates two tendencies discernible in contemporary Shakespeare performance more widely: the strong, empathic engagement characteristic of theatrical intimacy in the Aristotelian vein and the vast, distancing sweep of epic as theorized by Bertolt Brecht and, later, Walter Benjamin. By considering productions by Punchdrunk, Rift, John Tiffany and Andrew Goldberg, Kenneth Branagh and Rob Ashford, and Grzegorz Jarzyna, this chapter argues that epic theatre as proposed by Brecht and Benjamin is a marked feature of immersive productions, which combine the impression of intimacy with the distancing effect of the epic. Using Elinor Fuchs’s notion of landscape theatre, it concludes that in contemporary apolitical epic theatre, intimacy can be achieved outside Aristotelian catharsis or character and even beyond the notion of humanity.
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18

Purcell, Stephen. ‘It’s All a Bit of a Risk’. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.30.

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This essay considers three movements in twenty-first-century Shakespearean performance in light of Philip Auslander’s influential study Liveness: Performance in a Mediatized Culture (1999): (1) the live broadcasting of theatre productions; (2) the increasingly popular genre of immersive theatre as spectator sport; and (3) the body of practice emerging from, and centring on, the reconstructed Shakespeare’s Globe Theatre in London. It considers the ways in which each of these movements constructs ‘liveness’, paying particular attention to the implications of these constructions for Shakespearean performance. The first movement is examined through the lens of the National Theatre Live broadcast of Nicholas Hytner’s Othello, whose ‘liveness’ involves an interplay of filmic and theatrical registers; the second, through a discussion of Punchdrunk’s Sleep No More; and the third, through the modern practice of finding ‘liveness’ in game-like theatre techniques and in the responsiveness of the actor at Shakespeare’s Globe.
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19

Cole, Emma. Postdramatic Tragedies. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817680.001.0001.

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Ancient tragedy has played a well-documented role in contemporary theatre since the mid-twentieth century. In addition to the often-commented-upon watershed productions, however, is a significant but overlooked history involving classical tragedy in experimental and avant-garde theatre. Postdramatic Tragedies focuses upon such experimental reinventions. It analyses receptions of Greek and Roman tragedy that come under the banner of ‘postdramatic theatre’, a style of performance in which the traditional components of drama, such as character and narrative, are subordinate to the immediate, affective power of more abstract elements, such as image and sound. The book is in three parts, each of which explores classical reception within a specific strand of postdramatic theatre: text-based theatre, devised theatre, and theatre that transcends the usual boundaries of time and space, such as durational and immersive theatre. Across the three sections the author conducts a semiotic and phenomenological analysis of seven case studies, of productions from 1995 to 2015 from the United Kingdom, the United States, Australia, and Continental Europe. The book covers a mixture of widely known productions, such as Sarah Kane’s Phaedra’s Love, alongside works largely unknown in Anglophone scholarship, such as Martin Crimp’s Alles Weitere kennen Sie aus dem Kino and Jan Fabre’s Mount Olympus. It reveals that postdramatic theatre is related to the classics at its conceptual core, and that the study of postdramatic tragedies reveals a great deal about both the evolution of theatre in recent decades, and the status of ancient drama in modernity.
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20

Jarvis, Liam. Immersive Embodiment: Theatres of Mislocalized Sensation. Palgrave Macmillan, 2020.

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21

Szczepaniak-Gillece, Jocelyn. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689353.003.0001.

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This introduction lays out the direction of the book on the whole by discussing the movie palace, Ben Schlanger, modernism, and new cinema histories. Schlanger’s life and career are briefly introduced, and the importance of using archival materials and the Better Theatres section of Motion Picture Herald for documenting Schlanger’s theory of theater design is explained. From such writings, one can gather that Schlanger’s ideal theaters would be places of both bodily passivity and contemplation, yet also of immersion in the sense that the local environment and fellow viewers would fall away in service of the screen. Furthermore, the term “neutral” is examined via Bertrand Russell and neutral monism; in addition, the introduction explores the neutral and neutralization’s connections to the apparatus. All of these strands are connected via a modern approach to spectatorship explicated by Schlanger in his theaters.
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22

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

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Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive urban movie palace to the intimate streamlined theater, movie theaters became “neutralized” spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. This book examines the impact of Schlanger’s work in the context of changing patterns of spectatorship; his theaters and writing propose that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. As such, this study insists that changing models of cinephilia are determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how twentieth-century viewing has similarly transformed. And by looking backward into cinema’s architectural history, 1970s screen theory becomes clearer as a historical in addition to a theoretical model; the emergence of the apparatus can be found in the immersive powers of the neutralized movie theater. In this book, exhibition practice takes its place as a force that propels spectatorship through time. Ultimately, space and viewing are revealed to be intertwined and mutually constitutive phenomena through which spectatorship’s discourses are all the more clearly seen.
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23

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

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24

Dinesh, Nandita. Immersive Theater and Activism: Scripts and Strategies for Directors and Playwrights. McFarland & Company, 2018.

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25

Bala, Sruti. The gestures of participatory art. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.001.0001.

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The gestures of participatory art offers a critical investigation of key debates in relation to participatory art, spanning the domains of applied and community theatre, immersive performance as well as the visual arts. Rather than seeking a genre-based definition, it asks how artists, audiences and art practices approach the subject of participation beyond the predetermined options allocated to them. In doing so, it inquires into the ways that artworks participate in civic life. Participation is the utopian sweet dream that has turned into a nightmare in contemporary neoliberal societies. Yet can the participatory ideal be discarded or merely replaced with another term, just because it has become disemboweled into a tool of pacification? The gestures of participatory art insists that the concept of participation must be re-imagined and shifted onto other registers. It proposes the concept of the gesture as a rewarding way of theorizing participatory art. The gesture is simultaneously an expression of an inner attitude as well as a social habitude; it is situated in between image, speech and action. The study reads the gestural as a way to link discussions on participatory art to broader issues of citizenship and collective action. Moving from reflections on institutional critique and impact to concrete analyses of moments of unsolicited, delicate participation or refusal, the book examines a range of practices from India, Sudan, Guatemala and El Salvador, the Lebanon, the Netherlands and Germany. It engages with the critiques of participation and pleads for a critical reclaiming of participatory practices.
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26

Wallace, Clare. Irish Drama since the 1990s. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.34.

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While writers such as Friel and Murphy seemed to provide a certain continuity in the closing years of the twentieth century, a new generation of writers emerged in the 1990s for whom the Irish dramatic tradition seemed less an inheritance than a foil to be played against (or with) or, in some cases, an irrelevance. For instance, while Martin McDonagh’s work was sometimes associated with British ‘in-yer-face’ theatre of the 1990s, to some commentators his work made more sense as a subversion of an earlier Irish tradition. In the case of Conor McPherson, the breakdown of a community that made a shared theatre culture possible was registered in a turn to monologue, while writers such as Mark O’Rowe and Enda Walsh showed a freedom of dramatic form and a set of dramatic concerns reflecting immersion in a mediatized, globalized late modernity.
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27

Szczepaniak-Gillece, Jocelyn. A Mobile Gaze through Time and Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689353.003.0004.

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Chapter 3 examines the neutralized cinema in the era of widescreen, from 1950 to 1960. While most histories of widescreen focus on participation, I argue that presence formulated an additional exhibition category. In this way, widescreen was at times figured as a process of mental rather than bodily immersion. Such a description further distanced film from television at a crucial historical juncture and insisted on the removal of vestigial live theater attributes such as the proscenium arch. The chapter discusses the transcineum theater structures at Colonial Williamsburg as pinnacles of Schlanger’s work; these “floating voids” or “optical vacuums” transported spectators into an enormous screen, and thus into the past, via a highly calculated filmic environment.
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28

Davis, Kimberly Chabot. Wiggers or White Allies? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038433.003.0002.

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This chapter examines three white hip-hop artists whose youth was spent consuming and producing hip-hop in interracial neighborhoods or friendship groups: Eminem, Danny Hoch, and Adam Mansbach. Their cultural immersion facilitated and strengthened social ties to black people. Here, the chapter uncovers long-term manifestations of racial sincerity, but it also registers moments of failure, when one or another succumbs to the privileges of whiteness or opts for the easier postures of authenticity rather than the ongoing work of struggle against racial injustice. Treating these three artists as consumers and producers of hip-hop culture, the chapter analyzes the racial politics and sincerity of their rap lyrics, theater performances, film, fiction, essays, interviews, and social activism. Without reducing the artistic complexity of their imaginative work, it considers their creative products as reception documents that reflect their understanding of the meanings and significance of hip-hop culture.
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29

Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.

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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.
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