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Dissertations / Theses on the topic 'Immersive theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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 immersi

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2

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 Mede

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3

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 appropr

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4

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

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5

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 t

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6

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 collabor

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7

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

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8

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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9

Darcey, Stephanie J. "An immersive study of the artistry of Gilbert Biberian —guitarist, composer, and pedagogue— and creative responses from a musical apprenticeship." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2764.

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This project examines the music of Istanbul-born British classical guitarist and composer Gilbert Biberian (1944-2023) and the potential of this music to stimulate original composition using an intuitive approach. Biberian is recognized as one of the most original and creative guitar composers from the second half of the twentieth century. His musical language embraces and integrates traditional tonality, jazz, post-tonal idioms, and the music of the Middle East. There are three strands to this project: an overview of Biberian’s life, philosophy, and music; a musical apprenticeship with Biberi

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10

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

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11

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 pe

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12

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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13

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 L

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14

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 pa

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15

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

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16

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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17

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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18

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

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19

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. Intresse

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20

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, voi

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21

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 primei

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22

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, observ

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23

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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24

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 imme

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25

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 in

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26

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-s

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27

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<br>國立臺北藝術大學<br>新媒體藝術學系碩士班<br>107<br>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

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28

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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<div>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

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