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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.Master of Arts
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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Prisco, Lauren. "Immersive Theater & The Physical Narrative." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.
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Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.
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Swift, Elizabeth. "The hypertextual experience : digital narratives, spectator, performance." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16025.
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This thesis demonstrates how the dynamics of hypertext fiction can inform an understanding of spectatorial practices provoked by contemporary performance and installation work. It develops the notion of the ‘hypertextual experience’ to encapsulate the particular qualities of active user engagement instigated by the unstable aesthetic environments common to digital and non-digital artworks. The significance and application of this term will be refined through an examination of different works in each of the study’s six chapters. Those discussed are as follows: Performances: Susurrus, by David Leddy; Love Letters Straight from the Heart and Make Better Please, by Uninvited Guests; The Waves, by Katie Mitchell; House/ Lights and Route 1 & 9, by the Wooster Group; Two Undiscovered Amerindians Discover the West, by Coco Fusco and Guillermo Gómez-Peña. Digital works: Afternoon (1987) by Michael Joyce; Victory Garden (1992) by Stuart Moulthrop; TOC by Steve Tomasula; The Princess Murderer by Deena Larsen. Installations: H.G. and Mozart’s House, by Robert Wilson; Listening Post, by Mark Hanson and Ben Rubin. In developing and discussing the hypertextual experience the thesis uses a number of conceptual frameworks and draws on philosophical perspectives and digital theory. A central part of the study employs an adaptation of possible worlds theory that has been recently developed by digital theorists for examining hypertext fiction. I extend this application to installation and performance and explore the implications of framing a spectator’s experience in terms of a hypertextual structure which foregrounds its performative operations and its engagement with machinic processes.
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Prudhon, Déborah. "Entre réel et fiction : les nouveaux théâtres anglais contemporains." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL093.pdf.
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Notre société contemporaine est à la fois qualifiée de « nouvel âge de la fiction » (Anne Besson) et caractérisée par une « faim de réalité » (David Shields). En quoi cette tension contradictoire se reflète-t-elle sur la scène théâtrale, lieu par excellence de cohabitation féconde du réel et du fictionnel ? L’analyse s’articule autour de trois « nouveaux » théâtres de la scène contemporaine anglaise qui permettent, à travers des formes et modalités qui leur sont propres, de repenser le lien entre l’univers de fiction et la réalité extrathéâtrale. Le théâtre verbatim importe sur sa scène les paroles de personnes « réelles ». Le théâtre performatif de Tim Crouch joue avec les cadres réels et fictionnels pour venir troubler la distinction entre l’« ici et maintenant » partagé par les acteurs et les spectateurs, et les différents lieux et temporalités de la fiction qui s’y superposent. Quant aux spectacles de la compagnie Punchdrunk, figure de proue du théâtre immersif, ils débordent du cadre de la scène pour investir un espace immense – une véritable « fiction-monde » que le public est invité à explorer à sa guise. Cette thèse vise ainsi à montrer en quoi la tension fondamentale entre réalité et fiction qu’explorent ces divers dispositifs théâtraux refonde les codes esthétiques et dramaturgiques de la scène contemporaine anglaise et vient bousculer les paradigmes de réception conventionnelsThe society we live in is both described as a “new age of fiction” (Anne Besson) and characterised by a “reality hunger” (David Shields). How is this conflicting tension reflected on the theatre stage, the place par excellence where reality and fiction coexist? This analysis focuses on three “new” theatres of the contemporary English stage which allow us, through their own forms and modalities, to consider anew the relationship between the fictional world and the extratheatrical reality. Verbatim theatre imports the words of “real” people onto its stage. Tim Crouch’s performative theatre plays with real and fictional frameworks in order to blur the distinction between the “here and now” that actors and spectators share, and the fictional “there and then” that is superimposed onto it. As for the shows by Punchdrunk, the figurehead company of immersive theatre, they go beyond the limits of the stage and spread out into huge spaces – a world-fiction that the audience is invited to inhabit and explore as they please. This thesis seeks to show how the fundamental tension between reality and fiction explored by these various theatres takes the aesthetic and dramaturgical codes of the contemporary English stage in a new direction and disrupts the traditional paradigms of spectatorship
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Liang, Liu. "Test Immersion in DomeTheater using Tracking device." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-69280.
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Head tracking is an important way to interact with virtual objects in virtual world. The viewercan move or rotate his head to observe the 3D scene in dierent view. Normally head tracking isused in a cave or just on a at screen.Dome theater has a half sphere screen with multiple projectors together for showing the wholescene onto the big screen. The dome screen could give the viewer a very strong immersion feelingwhen head tracking inside dome theater and that is why we want to implement head tracking indome theater. The half sphere dome screen is so big that multiple projectors should be used forshooting the whole scene onto the big screen. Hence a cluster system is used for manipulating allthe projectors working smoothly. The display system of dome theater has no place for the headtracking part.This thesis tries to introduce a method to do head tracking in dome theater. The mainproblem is how to add head tracking in the display system in dome theater. Frame buer object(FBO) is used as the solution for this problem. The viewer's viewing frustum is created in framebuer object in order to render the 3D scene depending on the viewer's head position. The FBOtexture will then be attached onto a 3D sphere which simulates the dome sphere in virtual world.Since the viewing frustum is always created depending on the viewer's head position, the FBOtextures on the 3D sphere always can represent the 3D scene rendered depending on the viewer'shead position. Using the projectors to shoot the 3D scenes which is the 3D sphere attached by theFBO textures onto the dome screen. That is the main part of how to implement head tracking indome theater.This thesis forcus on rendering the 3D scene onto the dome screen depending on the viewer'shead position. The tracking device controlling part is out of this thesis's scope. VR Juggler (VRJ) is used as the framework in this project. Viewer's position setting and cluster setting are allsetted in the conguration file.
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Solberg, Ragnhild S. "Playing Puppets : Agency, Immersion, and the Fictional Realities of Sabbath’s Theater and Portal." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24132.
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Connor, John B. "The "immersion technique" in the theatre of Antonio Buero Vallejo: the expression of theme through scenographic innovation and experimentation." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399627552.
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Gouarné, Esther. "Théâtre performantiel : immersion et distance dans le théâtre néerlandophone (Flandre et Pays-Bas, 2004-2014)." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100080.
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L'imbrication de la théâtralité et des paradigmes issus du performance art est inscrite au coeur du théâtrepostdramatique, défini par Hans-Thies Lehmann, et elle fut également placée au coeur de ce qui fut nommé la« vague flamande » des années 1980. C'est de ce mécanisme que rend compte le terme de théâtreperformantiel, choisi par contraste avec le performatif austinien. En assimilant l'idéal des avant-gardeshistoriques d'une fusion art-vie, fondée sur l'action réelle en temps réel, la théâtralité se trouve à la foisdébordée et révélée dans son essence, comme un processus en cours, qui prévoit la réception d'un regardactif et complice et se donne à vivre comme un événement. La théâtralité performantielle, fondée sur lemontage et le recyclage, oscille entre deux pôles : celui de l'immersion, du choc voire du rêve d'un art total,d'une part, et celui de la mise à distance méta-théâtrale et auto-référentielle, d'autre part. Au centre de cettetension, l'image scénique oppose une résistance au flux des visibilités du monde. C'est ce que révèle uneimmersion au coeur des processus créatifs de trois troupes fondées au début des années 2000 : AbattoirFermé, le Warme Winkel et Wunderbaum. La participation observante éclaire en profondeur les enjeuxesthétiques et idéologiques de cette rencontre entre théâtre et performance. Elle révèle aussi la validité etl'actualité d'une interrogation sur les idéaux de l'avant-garde, dans le contexte d'une crise et d'undurcissement politique et économique auxquels sont confrontés ces artistes, après une période de prospéritéet d'institutionnalisation des pratiques expérimentalesIn postdramatic theatre, as theorized by Hans-Thies Lehmann, theatricality, processuality andperformance art have merged. This overlapping was precisely at the heart of the so-called Flemish Wave, inthe 1980s. That generation drew links between the avant-garde's ideals and methods, and today's youngartists. The blurring of art and life overflows theatrical stages and frames, but thereby reveals the veryessence of theatricality : what is showed on those contemporary stages is the emergence of a process, animage in construction, a work-still-in-progress...This is what coins down the expression « théâtreperformantiel » (« performantial theatre » versus performativity). Frictions between representation, illusionand performativity provoke a constant oscillation between meta-theatrical distance, self-referentiality, shockand sensationnal immersion. It even flirts with the dream of total art. These works also rely on an activespectator's gaze. In the midst of these contradictions, stage images oppose a resistance to the visual flows ofthis world. These movements are explored through a field analysis and a close-up on the creative processesof three Flemish and Dutch groups created around 2000 : Abattoir Fermé, the Warme Winkel andWunderbaum. Participative observation offers deeper insight into the aesthetic and ideological issues at stakeat the heart of this encounter between theatre and performance. It also reveals the currency and the validity ofquestioning the avant-garde's ideals given the context of an economic crisis and political tightening
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Almlöf, Linnea, and Matilda Jalonen. "En episk kombo av teater och spel : Underhållning och immersion i spel utformade efter episka teaterprinciper." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17083.
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Vissa forskare påstår att det finns ett samband mellan underhållning och immersion. Den episka teatern ville att publiken skulle uppleva reflektion och underhållning men samtidigt vara distanserade från pjäsen. Studien ämnar utifrån detta undersöka hur underhållande och immersivt ett spel utformat efter episka teaterprinciper upplevs. Respondenterna fick efter att de spelat ett sådant spel antingen besvara en enkät eller delta i en intervju gällande sin upplevelse. De upplevde i genomsnitt hög eller medelhög immersion och underhållning. Stora variationer mellan individerna fanns dock. Intresset för temat eller liknande spel verkar ha påverkat respondenternas upplevelse. Immersion och underhållning delar flertalet komponenter vilket verkar göra dem svåra att avgränsa i praktiken. I framtiden finns ett värde att forska vidare inom området för att förstå immersion, underhållning och reflektion och hur dessa påverkar varandra bättre eftersom det kan bidra både till mer samhällskritiskt tänkande samt kunskap bland befolkningen.Some scientists claim that there's a connection between entertainment and immersion. The epic theatre wanted to distance the audience but at the same time encourage them to reflect and be entertained. The study intended to examine how entertaining and immersive the participants experienced a game designed after epic theatre principles. After playing such a game, the participants either answered a questionnaire or took part in an interview. In general, they experienced high or mid-high immersion and entertainment. However, there were large differences between different individuals. The experience might have been affected by an interest in the theme or similar games. Immersion and entertainment share some components that seem to make the concepts difficult to separate in practice. There's a value in further research to understand immersion, entertainment and reflection better, and also how these affect each other. This might lead to more critical thinking and knowledge amongst the population.
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
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Casiraghi, Maurício Pezzi. "Insônia : a tecnologia audiovisual como catalisador para a imersão no teatro." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/178613.
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Esta dissertação caracteriza-se como memorial reflexivo de uma pesquisa empírica, que se enquadra no campo de estudos dos processos de criação cênica. A pesquisa se articula em torno da questão da imersão na cena contemporânea, aqui despertada pelo contato com obras que têm como denominador comum a relação intrínseca da cena e da tecnologia e, ao mesmo tempo, investem na experiência de inundamento sensorial de seus espectadores. A partir dessa perspectiva, investigo procedimentos que possam promover essa experiência teatral imersiva. Para isso, desenvolvo uma pesquisa em dois módulos. O primeiro, um estudo bibliográfico, que visa reconhecer tensões conceituais sobre a perspectiva da imersão. Neste reconheço os princípios de provocação do efeito imersão para serem aplicados no segundo módulo da pesquisa. O segundo módulo dedico à investigação empírica por meio do agenciamento de um experimento cênico conduzido pelos disparadores de imersão discriminados nos desdobramentos teóricos. Esses desvendados por articulação de dispositivos tecnológicos com elementos da linguagem teatral: tempo, espaço, presença, dimensão real e ficcional e manipulação dos sentidos. A partir dessa premissa, desenvolvi o experimento cênico “Insônia”. Disseco o processo de criação e, por consequência, problematizo as descobertas e soluções cênicas encontradas no caminho.This dissertation distinguishes as a memorial of an empirical research, that belongs to the research field of theatrical creation processes. This research revolve around the notion of immersion in the contemporary scene. In this work is considered by recent contact with theater plays that makes uses of technology and bets in the experience of sensory flooding the spectators. From this perspective, i develop a research about the procedures that might produce this immersive theatrical experience. For achieving that I divide this work in two modules. The first module, a bibliographical study, that wishes to recognize conceptual tensions about the notion of immersion. Here I recognize the principles of provoking this immersion effect for then applying in the second module of the research. In the second module I devote to the empirical research by the means of arranging a theatrical experiment conducted by the immersion triggers found in the conceptual studies. These were discovered by linking technological devices and elements of theatre language: time, space, presence, real and fictional dimensions and sense manipulation. Having this as premise, I developed the theatrical experiment called “Insônia”. I analyze the creative processes and problematize the discoveries and scenic solutions found along the way.
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Toulouse-Carasso, Nathalie. "La scène centrale entre mythe et histoire. Le Théâtre en Rond de Paris (1954-1966 / 1977-1984)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030122.
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À la fin du XIXe siècle, les pionniers du théâtre populaire cherchent à s'évader du dispositif dit "à l’italienne" et à se rapprocher physiquement des spectateurs, pensant ainsi démocratiser la rencontre théâtrale. Dans cette perspective, ils utilisent des dispositifs non frontaux, bouleversant une longue tradition. La thèse, qui examine ce phénomène, rappelle que ces artistes se sont inspirés d’anciennes pratiques et ont restauré des formes antiques, élisabéthaines et médiévales, en particulier l’arène, la scène ouverte et le théâtre en rond. L’étude s’arrête sur ce dernier dispositif, observe son succès dans l’imaginaire théâtral moderne et constate sa rapide et paradoxale disparition. L’exemple privilégié est celui du Théâtre en Rond de Paris, créé par André Villiers en 1954 et animé par lui entre 1954 et 1984. Pour comprendre à la fois l’attraction et le déclin de la scène centrale contemporaine, qui n’a connu qu’un développement mineur et a quasiment disparu dans les années 1980, la prise en compte de la dimension mythologique du cercle est importante, comme l’est aussi l’utopie sphérique. La thèse apporte enfin quelques éléments de réponse quant aux raisons qui poussent certains artistes, en ce début du XXIe siècle, à choisir à nouveau ce dispositif et à en inventer des variantesDuring the late 19th century, pioneers of popular theater sought to escape the "Italian- style" stage to become closer to the spectators with the aim of democratizing theatrical entertainment. For this purpose, they used non-frontal stages, and thus radically altered a long tradition. The present thesis, which examines this phenomenon, recalls that these artists were in fact inspired by ancient popular practices and reintroduced antique and medieval forms, such as the Elizabethan open stage and the Theater in the Round, before considering the success of the latter in the modern theatrical imagination and its rapid demise. The example chosen is The Theater in the Round of Paris, created by André Villiers in1954 and managed by him until 1984. In order to understand both the attraction and decline of the contemporary Arena stage—which saw only minor developments and almost completely disappeared in the 1980s—reflection of the mythological dimensions of the circle, and the utopic ideology linked to the sphere, is imperative. Finally, this thesis proposes new ideas and elements for questioning why certain artists at the beginning of the 21st century still use some variants of this particular stage
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Machado, Thiago Luiz Berzoini. "Espectros – um drama familiar: narrativa transmídia aplicada às artes cênicas." Universidade Federal de Juiz de Fora, 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/1914.
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Utilizando como matriz midiática “Espectros – Um drama familiar” (Gengangere, 1881) de Henrik Ibsen, esta dissertação analisa a expansão do universo ficcional de uma peça teatral por diversas plataformas de mídia. A montagem da obra foi desenvolvida através da aplicação de estratégias transmídia com base nas explanações de Henry Jenkins e Stephen Dinehart, teóricos dessa nova forma de utilização da narrativa perante a era da “Cultura da Convergência”. O projeto apresentou ao espectador uma obra que possui vários “pontos de entrada” no universo ficcional da trama de Ibsen, acessíveis através de um conteúdo distribuído eletronicamente: vídeos, áudio-teatro, história em quadrinhos, um jornal fictício que contém informações sobre o programa da peça e um dossiê contra um dos personagens centrais da trama. A experiência também foi levada para um ambiente imersivo - o Second Life –, apresentando uma assembleia virtual que reuniu o elenco e o público atingido pela divulgação do evento nas redes sociais e sítio de hospedagem do material produzido. Com a aplicação dessa estratégia, o espectador é motivado a organizar mentalmente os fragmentos narrativos de situações pulverizadas através de canais de distribuições complementares, proporcionando a continuidade de imersão no universo ficcional mesmo após o término da experiência.
Using as a media-matrix “Ghosts – a family drama” (Gengangere, 1881) by Henrik Ibsen, this work analyzes the expansion of the fictional universe of a play by various media platforms. The composition of the play was developed through the application of strategies based on the explanations of Henry Jenkins and Stephen Dinehart, theorists of this new way of using the narrative according with the era of “Convergence Culture”. The project presented a work in which the viewer has multiple “entry points” into the fictional universe of Ibsen’s plot, accessible via electronically distributed content: videos, audio dramas, comic, a fictional newspaper which contains information about the program of the play and a dossier against one of the central characters of the plot. The experience was also taken to an immersive environment – the Second Life – featuring a virtual meeting that gathered the cast and the audience reached by the advertisement of this event through social networking and hosting website with the material produced. With the implementation of this strategy, the viewer is encouraged to mentally organize the narrative fragments of situations sprayed throughout additional distribution channels to provide continuous immersion in the fictional universe even the ends of the experiment.
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Wong, Hou Lam. "Immersive theatre as a strategy for raising eco-awareness." Master's thesis, 2020. http://hdl.handle.net/10400.14/30980.
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The failure of existing efforts in tackling environmental and man-made catastrophes
reiterates the need for transformative understandings about eco-issues. However, the ecoproblem
is a massively and complexly distributed phenomenon, which needs to be localized
for the public’s consciousness before their perceptions about it and resilience against it can
be mobilized. As such, this dissertation studies how immersive theatre can be used as a
transformative strategy to raise eco-awareness. Reflecting on the theories and literatures in
the fields of ecocriticism, performance studies and immersive theatre, and the working
practices of current immersive performances, this study develops a relational model which
situates the bodies of spectators at the collapsing aesthetic, territorial and anthropocentric
boundaries in the eco-discourse. It argues that based on the affective and emancipating
natures of immersive theatre, the tactics of creating intimate encounters in the performance,
guiding spectators to perform reciprocal agencies, and allowing a capacity for weakness and
negative feelings may culminate to both enhance the immersive experience of the spectators
and open up a space for eco-awareness to emerge. These immersive tactics treat the bodies
of the spectators as aesthetic sites of sensory exchanges and empathetic imaginations, from
which personal connections and perceptual transformations may be enabled. Addressing
intercorporeality and intersubjectivity, an eco-conscious immersive theatre may then
collapse the boundaries between onlookers and stakeholders, human and non-human through
highlighting one’s immersiveness in both the theatre and the ecosphere. To exemplify the
above, Rimini Protokoll’s World Climate Change Conference (2014) and Riverbed
Theatre’s Hypnosis (2017) will be studied as the major cases of the dissertation. They will
be analyzed with the guidance of knowledge from the fields of ecocriticism and immersive
theatre, and concepts such as immersion, affect and emancipation
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Miller, Mary-Corinne. "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play." 2018. https://scholarworks.umass.edu/masters_theses_2/730.
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This written portion of my thesis documents how I, as director, conceptualized, devised and staged an immersive adaptation of August Strindberg’s A Dream Play, with the support of a large team of collaborators including: assistant directors, dramaturgs, designers, stage managers, and actors. In this document I attempt to synthesize the discoveries I made in this process regarding the challenges and experience of directing immersive theater, including the importance of giving up directorial control and relying on my collaborators as partners in the creation of the production.
I begin with an introduction to the research I conducted into the field of immersive theater as well as my research on the work of August Strindberg, with a specific emphasis on the themes and context of A Dream Play. I then describe how I led my creative team through the process of designing a devised immersive theater production by encouraging open communication and fostering an atmosphere of trust. I also discuss the casting process and my efforts to establish an autonomous ensemble by allowing the actors to choose their own parts, write their own scripts, and devise their own scenes. I reflect on how I navigated the unpredictable nature of immersive theater, through a careful balance between detailed planning and free exploration, all the while embracing the possibility of failure as an expected part of the process. Finally, I attempt to assess the success of the production through examination of the impact it had on its audiences based on my own personal observations, as well as feedback collected through formal methods of survey.
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Belo, Inês Carvalho dos Santos. "Teatro imersivo: públicos e práticas culturais." Master's thesis, 2016. http://hdl.handle.net/10071/12697.
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A presente dissertação consiste num estudo aos públicos da peça de teatro imersivo “E
Morreram Felizes Para Sempre”, que esteve em cena de abril a dezembro de 2015, no
Hospital Júlio de Matos, em Lisboa.
Por se tratar de um formato de teatro recente e que suscita novos papéis desempenhados
por eles, em que são chamados a participar ativamente na construção da narrativa e no
desenrolar da performance pretendeu-se perceber quem são esses públicos, quais as suas
práticas culturais, como é que reagiram à peça e que impacto esta teve na relação que têm
com o teatro.
Para o fazer, realizou-se uma caracterização com base em métodos qualitativos das suas
práticas culturais e relação com o teatro em três momentos: antes, durante e após a ida à
peça, com o objetivo de perceber que mudanças provocou nas suas práticas culturais.
PALAVRAS-CHAVE: teatro imersivo, arte participativa, práticas culturais, públicos do teatroThe following thesis consists in a study of the audiences of the immersive theatre “E Morreram Felizes Para Sempre” that was performed at Hospital Júlio de Matos, in Lisboa, between April and December of 2015. Being a recent theatre format, that raises new roles to be played by the audiences – the audiences are called to actively participate in the construction of the narrative –, the study intended to understand who these audiences are, what their cultural practices are, how they reacted to the play and which impact the play had in their relation with the theatre. To do it, qualitative methods were used to do a characterization of their cultural practices and relationship with the theatre in three moments: before, during and after going to the play, with the objective of understanding what changes the play caused in their cultural practices.
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FENG, HAN-YU, and 馮涵宇. "Render Ghost─Imagination and Practice of Immersive Virtual Ritual Theater." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/nc4mf3.
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碩士國立臺北藝術大學
新媒體藝術學系碩士班
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Render Ghost is an immersive virtual ritual theater which started with an inquiry of the origin and home of our spirits. In the drastic development of technology, the boundary of life consciousness has been expanding and shifting. Among which, one sci-fi story about human spirits uploaded to a virtual network aspires to walk out from the fantasy and enter into reality. The spirit comes along with our physical bodies; would it leave the world in the form of information? While how would the identity certificate of disembodied spirit transform and where will the life travel eventually? These questions are rooted in the primitive desire where humankind resist death. The virtual spirit, as a new pattern of life following the state of the human, outlines a new arrives at the reconstruction of post-human ethics. This artist statement aims to interpret concepts and research questions around the work Render Ghost which takes a mythological framework of post-humanity as a summons, adjusting the relational network between sci-fi narratives and ritual theater. Externally, the work redefines the position of humankind in the process of evolution and informatic history, rethinking the knowledge system which regards objects and non-human lives as the object. With such a concept, I re-comprehend how post-human cross the line of the limitation of death and the border of self-existing fantasy. While internally, I would like to trace the origin of theater and rituals, and further impose the rethinking of technological products, cybernetics, and virtuality into the imaginative diagram of ritual theater, trying to strike the bottom of senses and unconsciousness by the exploration of new media. It allows the audience arrive place where knowledge and rationality can’t reach, digging the spiritual tunnel and returning back to the origin, exploring the imagination of evolution and transcendence.
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Bourbon, Estelle. "Immersion et distanciation : le paradoxe de la multisensorialité dans la mise en scène de Mangez-le si vous voulez de Jean Teulé par le Fouic Théâtre." Thèse, 2018. http://hdl.handle.net/1866/20672.
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(8803076), Jordan M. McGraw. "Implementation and Analysis of Co-Located Virtual Reality for Scientific Data Visualization." Thesis, 2020.
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Advancements in virtual reality (VR) technologies have led to overwhelming critique and acclaim in recent years. Academic researchers have already begun to take advantage of these immersive technologies across all manner of settings. Using immersive technologies, educators are able to more easily interpret complex information with students and colleagues. Despite the advantages these technologies bring, some drawbacks still remain. One particular drawback is the difficulty of engaging in immersive environments with others in a shared physical space (i.e., with a shared virtual environment). A common strategy for improving collaborative data exploration has been to use technological substitutions to make distant users feel they are collaborating in the same space. This research, however, is focused on how virtual reality can be used to build upon real-world interactions which take place in the same physical space (i.e., collaborative, co-located, multi-user virtual reality).
In this study we address two primary dimensions of collaborative data visualization and analysis as follows: [1] we detail the implementation of a novel co-located VR hardware and software system, [2] we conduct a formal user experience study of the novel system using the NASA Task Load Index (Hart, 1986) and introduce the Modified User Experience Inventory, a new user study inventory based upon the Unified User Experience Inventory, (Tcha-Tokey, Christmann, Loup-Escande, Richir, 2016) to empirically observe the dependent measures of Workload, Presence, Engagement, Consequence, and Immersion. A total of 77 participants volunteered to join a demonstration of this technology at Purdue University. In groups ranging from two to four, participants shared a co-located virtual environment built to visualize point cloud measurements of exploded supernovae. This study is not experimental but observational. We found there to be moderately high levels of user experience and moderate levels of workload demand in our results. We describe the implementation of the software platform and present user reactions to the technology that was created. These are described in detail within this manuscript.