By Adam Alston
Immersive theatre at present enjoys ubiquity, reputation and popularity in theatre journalism and scholarship. even though, the politics of immersive theatre aesthetics nonetheless lacks a considerable critique. Does immersive theatre version a selected form of politics, or a specific form of viewers? What’s fascinated about the construction and intake of immersive theatre aesthetics? Is a efficient viewers consistently an empowered viewers? And do the phrases of an audience’s empowerment face up to political scrutiny?
Beyond Immersive Theatre contextualises those questions by way of tracing the evolution of neoliberal politics and the event financial system during the last 4 a long time. via distinct serious analyses of labor via Ray Lee, Lundahl & Seitl, Punchdrunk, shunt, Theatre Delicatessen and part reduce, Adam Alston argues that there's a tacit politics to immersive theatre aesthetics – a tacit politics that's illuminated by means of neoliberalism, and that's ripe to be challenged by means of the evolution and diversification of immersive theatre.
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Extra info for Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation
5); Theatre Delicatessen’s Theatre Souks (2010–) (Chap. 6); and Half Cut’s Half Cut (2010) (Chap. 6). I will be building a critique of these performances – informed by my own political convictions and immersion in performance as a researching audience 7 The only performances considered in any depth that I have not attended are the opening of Louis Vuitton’s Bond Street store and … and darkness descended, both by Punchdrunk. INTRODUCTION: THEATRE AS EXPERIENCE MACHINE 25 participant – by constructing a cross-disciplinary methodology suited to analysing and evaluating the conditions of immersive theatre production and reception.
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