Titlebook: Immersive Theatre and Audience Experience; Space, Game and Stor Rose Biggin Book 2017 The Editor(s) (if applicable) and The Author(s) 2017

Cuisine

Pituitary-Gland

Immersive Theatre, Immersive Experience,unk and proposes new theoretical approaches to immersive audience experience. This introductory chapter considers contemporary approaches to “the audience” in theatre, film and cultural studies, then redefines “immersion” with a model drawn from cognitive science, philosophical aesthetics and the st

BAIL

配置

Interactivity and Immersion in ,,ose analysis of Punchdrunk’s . (2013–2014). Discussion is structured around three modes of interactivity: (1) cognition, imagination and interpretation; (2) functional or utilitarian participation; and (3) explicit audience activity—the chapter argues for a flexible mode of analysis when considering

百科全书

Fan Interactivity: Communicating Immersive Experience,runk’s archives, this chapter considers audience communication during Punchdrunk’s . (2006) and . (2007), and the development of international Punchdrunk fan communities around . (2011–) and . (2013–2014), to argue that audience participation or fan activity is itself a form of interactivity with im

fatuity

Blanch

Exploring Multistories: Narrative, Immersion and Chronology,ue of spreading scenes throughout large buildings for audiences to seek out and discover. The chapter explores how this structure affects immersive experience drawing on theoretical approaches to narrative and time by Genette and Ricoeur, arguing that the perceived rules of engagement within an imme

AUGUR

Indecisive

Environment and Site-Specificity: Space, Place and Immersion,sive experience” as separate but interrelated concepts allows for a more nuanced discussion of how Punchdrunk’s use of space affects audiences. After outlining current approaches to site-specificity and the host/ghost relationship, the chapter offers a comparative analysis of Punchdrunk’s . (2013) a

捐助

Conclusion,ship(s) with narrative, environment and interactivity; and the implicit invitation to an “immersive experience” that is promised by “immersive theatre.” The chapter discusses several sites of further enquiry following the book’s theoretical approach towards “immersive theatre” and “immersive experie