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Books on the topic 'Immersive theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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Alston, Adam. Beyond Immersive Theatre. 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. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62039-8.

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4

Kubák, Ivo Kristián. Imerzivní divadlo a média: Immersive theatre and media : Golem: Meyerink, Štvanice, Cube. Pražská scéna ve spolupráci s Tygr v tísni, z.s., a s Výzkumným pracovištěm katedry alternativního a loutkového divadla Divadelní fakulty AMU, 2015.

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5

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

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6

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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7

Mooney, Daniella Vinitski. Immersive Theatre of GAle GAtes. Taylor & Francis Group, 2022.

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8

Mooney, Daniella Vinitski. Immersive Theatre of GAle GAtes. Routledge, 2022.

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9

Machamer, Josh. Immersive Theatre: Engaging the Audience. Common Ground Publishing, 2018.

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10

Mooney, Daniella Vinitski. Immersive Theatre of GAle GAtes. Taylor & Francis Group, 2022.

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11

Mooney, Daniella. Immersive Theatre of Gale Gates. Routledge, Chapman & Hall, Incorporated, 2022.

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12

Mooney, Daniella Vinitski. Immersive Theatre of GAle GAtes. Taylor & Francis Group, 2022.

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13

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

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14

Memos from a Theatre Lab: Immersive Theatre and Time. Vernon Art and Science Inc., 2019.

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15

Memos from a Theatre Lab: Immersive Theatre and Time. Vernon Art and Science Inc., 2018.

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16

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

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17

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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

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24

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

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25

Alston, Adam. Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation. Palgrave Macmillan, 2016.

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26

Alston, Adam. Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation. Palgrave Macmillan Limited, 2019.

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27

Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation. Palgrave Macmillan, 2016.

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28

Examining The Use Of Theatrical Technologies In Creating An Immersive Micro Scene Technical Theatre & Production Design In Immersive Theatre. Unspecified Vendor, 2013.

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29

Burgess, Kieran. Examining the Use of Theatrical Technologies in Creating an Immersive Micro-Scene : Technical Theatre and Production Design: In Immersive Theatre. Independently Published, 2013.

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30

Frieze, J. Framing Immersive Theatre and Performance: The Politics of Participation. Palgrave Macmillan Limited, 2017.

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31

Frieze, James. Reframing Immersive Theatre: The Politics and Pragmatics of Participatory Performance. Palgrave Macmillan Limited, 2021.

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32

Frieze, James. Reframing Immersive Theatre: The Politics and Pragmatics of Participatory Performance. Palgrave Macmillan, 2016.

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33

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

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34

Bucknall, Joanna Jayne. Talking about Immersive Theatre: Conversations on Immersions and Interactivities in Performance. Bloomsbury Publishing Plc, 2023.

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35

Cole, Emma, ed. Experiencing Immersion in Antiquity and Modernity. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350419124.

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This book examines the links between experiencing immersion in antiquity and modernity. Immersive experiences are big business within today’s creative economy. Forms range from immersive museum exhibitions, theatrical performances, art installations and experiences facilitated through virtual and augmented reality technologies. Yet the idea of immersion is not new; paintings, sculpture and theatre have all been theorised historically in terms of illusion, realism and immersion. From antiquity to modernity, there has been an interest in theorising the relationship between reality and virtual re

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36

Webb, Tim. Sensory Theatre: How to Make Interactive, Inclusive, Immersive Theatre for Diverse Audiences by a Founder of Oily Cart. Taylor & Francis Group, 2022.

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37

Webb, Tim. Sensory Theatre: How to Make Interactive, Inclusive, Immersive Theatre for Diverse Audiences by a Founder of Oily Cart. Routledge, Chapman & Hall, Incorporated, 2022.

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38

Webb, Tim. Sensory Theatre: How to Make Interactive, Inclusive, Immersive Theatre for Diverse Audiences by a Founder of Oily Cart. Routledge, Chapman & Hall, Incorporated, 2022.

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39

Webb, Tim. Sensory Theatre: How to Make Interactive, Inclusive, Immersive Theatre for Diverse Audiences by a Founder of Oily Cart. Taylor & Francis Group, 2022.

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40

Webb, Tim. Sensory Theatre: How to Make Interactive, Inclusive, Immersive Theatre for Diverse Audiences by a Founder of Oily Cart. Taylor & Francis Group, 2022.

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41

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

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42

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

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43

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 wi

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44

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° interac

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45

Immersive Theatres. Palgrave Macmillan, 2013.

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46

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 th

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47

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

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48

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

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49

Jarvis, Liam. Immersive Embodiment: Theatres of Mislocalized Sensation. Springer International Publishing AG, 2019.

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50

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, affe

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