Relevant bibliographies by topics / Punchdrunk

Contents

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

Academic literature on the topic 'Punchdrunk'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 March 2023

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Journal articles on the topic "Punchdrunk"

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O’Hara, Meghan. "Experience Economies: Immersion, Disposability, and Punchdrunk Theatre." Contemporary Theatre Review 27, no. 4 (October 2, 2017): 481–96. http://dx.doi.org/10.1080/10486801.2017.1365289.

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Carlson, Marvin. "Postdramatic Theatre and Postdramatic Performance." Revista Brasileira de Estudos da Presença 5, no. 3 (December 2015): 577–95. http://dx.doi.org/10.1590/2237-266053731.

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Abstract: Beginning with the concept of a postdramatic theatre as articulated by the German theorist Hans-Thies Lehmann, this essay considers the recent work of several major international directors - Ivo van Hove, Punchdrunk, Signa and others - as examples of postdramatic performance. It argues that what they have in common is a challenge to the traditional concept of mimesis and of the theatre world as a fictional construct distinctly separated from everyday life and its surroundings.
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Papaioannou, Spyros. "Immersion, ‘smooth’ spaces and critical voyeurism in the work of Punchdrunk." Studies in Theatre and Performance 34, no. 2 (April 22, 2014): 160–74. http://dx.doi.org/10.1080/14682761.2014.899746.

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Wilson, Anna. "Punchdrunk, participation and the political: democratisation withinMasque of the Red Death?" Studies in Theatre and Performance 36, no. 2 (March 16, 2016): 159–76. http://dx.doi.org/10.1080/14682761.2016.1157748.

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WHITE, GARETH. "On Immersive Theatre." Theatre Research International 37, no. 3 (September 4, 2012): 221–35. http://dx.doi.org/10.1017/s0307883312000880.

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This article considers what might be implied in the term ‘immersive theatre’, asking what kinds of ‘interior’ audiences are invited to become immersed in. To facilitate my argument I draw on performances by two London-based theatre companies, Shunt and Punchdrunk, as examples of immersive theatre which use architectural interiors: extensive environments which audiences explore in order to find the performance, and sometimes to give performances themselves. I begin with a description of how these physical interiors and the audience member's movement through them becomes part of the dramaturgy of the work, before moving on to a critique of the term ‘immersive’. This critique is initially based on analysis of its metaphorical character, using an approach derived from cognitive linguistics, and is developed through Josephine Machon's (syn)aesthetics and Heidegger's phenomenological aesthetics.
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Smith, Lorraine. "The risks of wearing Mr Punch and other costumed performances." Performing Ethos: International Journal of Ethics in Theatre & Performance 11, no. 1 (November 1, 2021): 23–37. http://dx.doi.org/10.1386/peet_00035_1.

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When identifying risk and ethical issues in live performance the focus is predominantly framed around the audience, and even more so with the popularity of immersive theatre. However, with the unpredictability of audience behaviour in immersive work, the safety of performers is starting to rise to the surface. For example, concerns of performer safety in the immersive work of Punchdrunk were raised in 2018, including allegations of sexual assault against performers by audience members who were veiled behind the anonymity of white masks. This visual article will refocus the discussion of risk onto the performer, as well as on the often overlooked theatrical element of costume and its potential impact on performer behaviour and embodiment, in addition to the impact it can have on the audience. The live performance case study Six O’clock Swill (2009), a piece based on Mr Punch, will be used to interrogate perspectives on these performative risks.
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Biggin, Rose. "Labours of Seduction in Immersive and Interactive Performance." New Theatre Quarterly 36, no. 1 (February 2020): 73–83. http://dx.doi.org/10.1017/s0266464x20000111.

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Much theatrical work that calls itself ‘immersive’ uses tropes of the erotic to achieve its intended effects. In this article Rose Biggin identifies structural and performative strategies in the use of the erotic in this genre. What does it mean to identify the process of performed seduction as central to much immersive dramaturgy? Through readings of contemporary productions that draw upon (or appropriate) pre-existing erotically charged environments, the inevitable responsibilities for makers working in this context of immersion are considered, as is the importance of considering the consequences for those working in immersive spaces. Stress is laid on the crucial role that this form of performative labour often plays in immersive performance, and a continued recognition of its influence is emphasized. Rose Biggin is an independent scholar and theatre artist based in London. She received her PhD from the University of Exeter, researching audience immersion and the work of Punchdrunk, and both writes and makes work on gender, history, and language. She is author of Immersive Theatre and Audience Experience (2017).
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Alston, Adam. "Immersive theatre and the aesthetics of decadence: on the ruined worlds of Punchdrunk, SHUNT and Hammer Film Productions." Theatre and Performance Design 3, no. 4 (October 2, 2017): 199–217. http://dx.doi.org/10.1080/23322551.2017.1406746.

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Smith, Phil. "Actors as Signposts: a Model for Site-based and Ambulatory Performances." New Theatre Quarterly 25, no. 2 (May 2009): 159–71. http://dx.doi.org/10.1017/s0266464x09000256.

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In this paper Phil Smith examines the proposal of Simon Persighetti of Wrights & Sites for actors to behave ‘as signposts’. It describes the circumstances from which the proposal arose, a particular moment in the work of site-specific artists/performers Wrights & Sites, and argues for the wider application of the proposal to the making of site-based theatre and performance. The paper describes four main features of the proposal for ‘actors as signposts’ – pointing to specificity, movement from anti-character to collective subject, performance as trajectory, and the restoration of corporeality – illustrating these with reference to the work of Punchdrunk, Francis Alÿs, and geographer Michael Zinganel, among others. Phil Smith is a Senior Research Associate at the School of Art and Media, University of Plymouth and Visiting Lecturer at the University of Exeter and Dartington College of Arts. Author and co-deviser of over a hundred plays or performances for companies including St Petersburg State Comedy Theatre, Tams Theater (Munich), and New Perspectives (Nottingham), he is company dramaturg for TNT (Munich) and a core member of Wrights & Sites. His solo walking-based performances include The Crab Walks and Crab Steps Aside (texts published by Intellect, 2009).
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Ritter, Julia M. "Danse en tandem : étude du mouvement des spectateurs et des performeurs dans Sleep No More de Punchdrunk1." Tangence, no. 108 (May 30, 2016): 51–76. http://dx.doi.org/10.7202/1036454ar.

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La compagnie britannique Punchdrunk a créé plusieurs productions théâtrales immersives depuis sa fondation en 2000. Sleep No More se distingue de celles-ci puisqu’on y présente le drame de Macbeth de Shakespeare par le truchement de la danse, mais aussi en raison du succès critique et commercial du spectacle. À l’aide des explications de Maxine Doyle, chorégraphe et directrice artistique associée de Sleep No More et des réflexions des performeurs et des spectateurs de la version new-yorkaise, la chercheuse en danse Julia M. Ritter émet l’hypothèse que la popularité de ce théâtre immersif est due en grande partie à la manière dont la danse est conçue et s’avère centrale comme méthode destinée à faciliter l’expérience du spectateur. Selon elle, Sleep No More fonctionne sur le modèle d’une danse en tandem entre les membres de la distribution et les spectateurs. La danse serait le médium structurant du contenu interprété par les danseurs professionnels et elle se déploierait par le biais d’improvisations susceptibles d’inciter les spectateurs à s’y mouvoir. L’auteure montre comment la danse exécutée dans Sleep No More permet au public de transformer en danse son expérience de spectateur tout en lui offrant des moments de découvertes personnelles et en l’amenant à développer une agentivité créative qui le conduit à osciller entre les rôles de participant, créateur, spectateur, curateur et performeur.
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Dissertations / Theses on the topic "Punchdrunk"

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Westling, Carina E. I. "The making of postdigital experiential space : Punchdrunk Company, 2011-2014." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68360/.

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This thesis presents my original contribution to knowledge, a combination of critical media and performance theories to analyse the production and augmentation of postdigital experiential spaces in Punchdrunk Theatre Company. Distributed agency is key to Punchdrunk's work, with makers within the company and audiences both being active participants in meaning-making, across complex and detailed interfaces. In order to investigate the making cultures on ‘both sides' of the interface, I undertook a two-year participant study as a researching designer within the company during the build of the productions The House Where Winter Lives and The Drowned Man in 2011-2014, gathering field data in the form of extensive interviews with members of the company and audience participants, supported by diary notations and photographs. I studied the processes and methods that extend, distribute and regulate agency to both audiences and makers within the company, and identified devices and features of the interaction design of the company that produce the immanent subject-event relationships that support immersion in their work. A core aspect of this research concerns the relationship between immersion and the sublime, and how subject-event relationships (immanent vs. transcendent) contribute to engendering sublime interactive experiences. I have analysed the consequences of this for the modelling of participation in interaction design, and how it influences conditions of possibility within interactive systems across physical, digital and blended media. The conclusion of this research includes the definition of a postdigital sublime, and proposes a delinquent system aesthetic that integrates proxies for gravity through articulation of the ‘shadow side' of interaction design.
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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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DEL, MONTE DIANA. "MOMENTI DI TEATRO PERFORMATIVO TRA ITALIA E STATI UNITI: ROBERT WILSON, MOTUS, PUNCHDRUNK." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18933.

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Una performance teatrale è un meccanismo complesso che viaggia attraverso molte variabili. L'approccio della lettura dell'evento performativo come nodo d'incontro e scambio di diversi agenti e aspetti è stato inoltre presentato dall'International Federation for Theater Research (IFTR) nella pubblicazione Theatrical Events. Borders, Dynamics, Frames. La tesi dottorale, in accordo con tale lettura, presenta tre case-study: Motus, Punchdrunk e Robert Wilson. I tre esempi sono qui analizzati nella loro totalità di opere d'arte, fenomeni culturali e meccanismi organizzativi, evidenziandone peculiarità, similitudini e differenze. Di ognuno sono stati valutati il processo creativo, le strategie di produzione, la relazione con la stampa e/o i mezzi di diffusione, le collaborazioni con la comunità artistica, la relazione con il pubblico. La ricerca è stata portata avanti coordinando diverse metodologie: la preferenza è stata data alle fonti primarie e al lavoro di campo nell'area di New York - interviste, fotografie, raccolta di dati e materiale iconografico. Sono stati poi consultati gli archivi della New York Public Library for the Performing Arts, della Byrd Hoffmann Foundation e del The Watermill Center. Il secondo capitolo si avvale inoltre della preziosa collaborazione sul campo dei ricercatori del gruppo ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) della Columbia University Business School
A performance is a dynamic system that involves many variables. The importance of theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects has also been stressed by IFTR, through the working group "Theatrical events" and its publication Theatrical Events. Borders, Dynamics, Frames. In accordance with the IFTR approach, the dissertation presents three case-study: Motus, Punchdrunk and Robert Wilson. The three international artists and companies are studied here as a crossroad of interactions among art, marketing, and social context, tracing similarities and differences in their theatrical productions. Specifically, the research analyzed four theatrical events: Sleep No More by Punchdrunk, Syrma Antigones project by Motus, The Discovery Watermill Day and The Old Woman by Robert Wilson. The essay is the result of a combined archive and fieldwork research based in New York. The archival materials is from New York Public Library for the Performing Arts, Byrd Hoffman Foundation, The Watermill Center, Motus theater company's archive, while the fieldwork collected visual materials such as pictures, sketches, videos as well as interviews and artists notes during the events. Part of the Sleep No More's fieldwork is in collaboration with ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) at Columbia University Business School.
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DEL, MONTE DIANA. "MOMENTI DI TEATRO PERFORMATIVO TRA ITALIA E STATI UNITI: ROBERT WILSON, MOTUS, PUNCHDRUNK." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18933.

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Una performance teatrale è un meccanismo complesso che viaggia attraverso molte variabili. L'approccio della lettura dell'evento performativo come nodo d'incontro e scambio di diversi agenti e aspetti è stato inoltre presentato dall'International Federation for Theater Research (IFTR) nella pubblicazione Theatrical Events. Borders, Dynamics, Frames. La tesi dottorale, in accordo con tale lettura, presenta tre case-study: Motus, Punchdrunk e Robert Wilson. I tre esempi sono qui analizzati nella loro totalità di opere d'arte, fenomeni culturali e meccanismi organizzativi, evidenziandone peculiarità, similitudini e differenze. Di ognuno sono stati valutati il processo creativo, le strategie di produzione, la relazione con la stampa e/o i mezzi di diffusione, le collaborazioni con la comunità artistica, la relazione con il pubblico. La ricerca è stata portata avanti coordinando diverse metodologie: la preferenza è stata data alle fonti primarie e al lavoro di campo nell'area di New York - interviste, fotografie, raccolta di dati e materiale iconografico. Sono stati poi consultati gli archivi della New York Public Library for the Performing Arts, della Byrd Hoffmann Foundation e del The Watermill Center. Il secondo capitolo si avvale inoltre della preziosa collaborazione sul campo dei ricercatori del gruppo ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) della Columbia University Business School
A performance is a dynamic system that involves many variables. The importance of theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects has also been stressed by IFTR, through the working group "Theatrical events" and its publication Theatrical Events. Borders, Dynamics, Frames. In accordance with the IFTR approach, the dissertation presents three case-study: Motus, Punchdrunk and Robert Wilson. The three international artists and companies are studied here as a crossroad of interactions among art, marketing, and social context, tracing similarities and differences in their theatrical productions. Specifically, the research analyzed four theatrical events: Sleep No More by Punchdrunk, Syrma Antigones project by Motus, The Discovery Watermill Day and The Old Woman by Robert Wilson. The essay is the result of a combined archive and fieldwork research based in New York. The archival materials is from New York Public Library for the Performing Arts, Byrd Hoffman Foundation, The Watermill Center, Motus theater company's archive, while the fieldwork collected visual materials such as pictures, sketches, videos as well as interviews and artists notes during the events. Part of the Sleep No More's fieldwork is in collaboration with ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) at Columbia University Business School.
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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 conventionnels
The 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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Books on the topic "Punchdrunk"

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Mack, Chester. Punchdrunk man reader. St. Paul, Minn: Thistlerose Publications, 1988.

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Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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Machon, Josephine, and Stephen Dobbie. The Punchdrunk Encyclopaedia. Edited by Josephine Machon. Routledge, 2018. http://dx.doi.org/10.4324/9781315150352.

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

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

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Book chapters on the topic "Punchdrunk"

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Klich, Rosemary. "Playing a Punchdrunk Game: Immersive Theatre and Videogaming." In Reframing Immersive Theatre, 221–28. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-36604-7_17.

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

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Machon, Josephine. "Felix Barrett and Maxine Doyle of Punchdrunk: In the Prae-sens of Body and Space — The (Syn)aesthetics of Site-Sympathetic Work." In (Syn)aesthetics, 89–99. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236950_5.

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Sullivan, Betsy. "Immersive Macbeth in Shanghai: Punchdrunk’s Transnational Sleep No More." In The Palgrave Encyclopedia of Global Shakespeare, 1–6. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-99378-2_26-1.

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Westling, Carina. "Immanent Story Worlds: The Making of Punchdrunk’s The Drowned Man: A Hollywood Fable." In Human–Computer Interaction Series, 161–78. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-29553-4_10.

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McHugh, Caitlin. "“Thou Hast It Now”: One-on-Ones and the Online Community of Punchdrunk’s Sleep No More." In Shakespeare / Not Shakespeare, 169–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63300-8_10.

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Harris, Geraldine. "Differences in Degree or Kind? Ockham’s Razor’s Not Until We Are Lost and Punchdrunk’s The Drowned Man: A Hollywood Fable." In Reframing Immersive Theatre, 265–88. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-36604-7_20.

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"Punchdrunk." In The Twenty-First Century Performance Reader, edited by Teresa Brayshaw, Anna Fenemore, and Noel Witts, 398–403. Abingdon, Oxon; NewYork, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429283956-51.

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"Punchdrunk’s Interactive Systems." In Immersion and Participation in Punchdrunk’s Theatrical Worlds. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350101982.0007.

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"Immersion in Punchdrunk’s Theatre." In Immersion and Participation in Punchdrunk’s Theatrical Worlds. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350101982.0005.

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