大雨
发表于 2025-3-30 08:35:25
A Dramaturgy of Participation: Participatory Rituals, Immersive Environments, and Interactive Gameplresentations, neither does it replace a theatrical narrative for a fully interactive game. Rather, it concentrates on the rituals suggested by the Medea myth. The authors discuss why they won’t allow audiences simply to wander around spaces, hoping for a meaningful sequence of events. Instead, throu
无王时期,
发表于 2025-3-30 13:56:25
She Wants You to Kiss Her: Negotiating Risk in the Immersive Theatre ContractAutumn 2012. Advertised as ‘intimate’ and ‘risk-taking’, they can be broadly identified as immersive theatre productions. Drawing on interviews with producers and participants and on audience surveys, Talbot argues that, when artists and programmers ‘behind the scenes’ in immersive environments ‘dis
MOTIF
发表于 2025-3-30 18:02:57
http://reply.papertrans.cn/83/8250/824936/824936_53.png
问到了烧瓶
发表于 2025-3-30 21:18:15
Immersive Performance and the Marketplace: ,Exploring the authors’ experience of the intensifying relationship between corporate promotion and immersive theatre, the essay discusses the rich source of creative provocations the project provided, enabling the company to create a piece of theatre with clear goals and for a specific audience. Gow
手工艺品
发表于 2025-3-31 04:46:20
Spectral Illusions: Ghostly Presence in Phantasmagoria Showsneteenth-century Europe in which showmen such as the mysterious German Paul Philidor, English lantern lecturer John Henry Pepper, and the Belgian physicist Étienne-Gaspard Robertson performed spectral illusions with terrifying stage effects. With their innovative use of new technologies such as mobi