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Titlebook: Reflective Affective Dramaturgies of Participatory Theatre; Larping Audiences in Sarah Hoover Book 2024 The Editor(s) (if applicable) and T

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Sarah Hooverhomotopy continuation method. Since this global analysis of the root-locus map also plays a vital role in recent work on generic stabilizability ([3], [10]) and pole placement by output feedback ([6], [9]) and has never yet appeared in its full generality, we thought it would be useful to collect th
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Book 2024 larp scholarship on character/self performance, agency and emergence. Through its integration of the practical and theoretical, this work serves as an essential study for scholars, students and artists in theatre studies, performance studies, visual art studies, role-play studies, cultural studies, and philosophy..
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Reflective Affective Dramaturgies of Participatory TheatreLarping Audiences in
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Reflective Affective Dramaturgies of Participatory Theatre978-3-031-64459-7
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The Potential Machine: Doing Thinking in Research and Performance,asising the complexity and multivalence of larp documentation due to its experiential and embodied nature. The chapter also addresses criticisms of artistic research, such as the lack of agreed-upon methodologies and the breadth of available methods, acknowledging the need for assessment and effecti
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,‘It Feels Real!’: Excess and Intensity in ,and potentially disrupted through affective movements. The chapter also provides insights into participant responses and experiences, as well as the affective influences of space on performance. Furthermore, it discusses the historical and societal context that influenced the production, drawing con
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,‘A Bigger Version of Me’: Self-Presence in ,ants to maintain immersion in the performance, but their attention often shifts to integrating their experience into their sense of self and lived history. The chapter emphasises the value of returning to lived experience and the reflective process as a means to contribute to the expansion of knowle
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