Titlebook: Reframing Immersive Theatre; The Politics and Pra James Frieze Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 immersive the

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Graves’-disease

The Fourth Wall and Other Ruins: Immersive Theatre as a Brandnd” upon FoolishPeople, she shows that, whilst the adoption of immersive tropes and language might have postponed the company’s disintegration, in so doing it has radically altered their former anti-theatrical ..

GLIB

Immersive Performance and the Marketplace: , and Owen argue that, ultimately, the creation of any artistic work exists within a framework of constraints and that this should be viewed not as an impediment or compromise but as an inspiration to the creative process.

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CLAP

In the Body of the Beholder: Insider Dynamics and Extended Audiencing Transform Dance Spectatorship t, transforming audience experiences of dance spectatorship. Ritter proposes the term . to describe how spectators continue their experiences of post-performance through reflection in social media postings and the creation of cultural products alongside the theatrical event.

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A Dramaturgy of Participation: Participatory Rituals, Immersive Environments, and Interactive Gamepl the myth of Medea throughout the night, culminating in a shared breakfast at dawn. By casting audience members in specific roles, giving them permission to participate, and constructing a dramaturgy which is audience-centered, they will both surrender to and actively participate in their own customised and memorable experience.

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Spectral Illusions: Ghostly Presence in Phantasmagoria Showsersion and intermediality in performance. Wynants offers an imaginative, historical genealogy and contextualisation of contemporary notions of intermedial theatre, such as liveness, presence, and interactivity.

Stress-Fracture

Immersed in Sound: , and the Phenomenology of Aural Experience attention to the dynamics of embodied attending: immersion . ‘.’ (Arvidson 2006; emphasis original). Referring to Sound&Fury’s ., the interview considers the particularities of conducting a phenomenology of theatrical listening.

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CANDY

Reframing Immersive Theatre: The Politics and Pragmatics of Participatory Performance,ut immersive and participatory performance. It seemed for a while that no performance event in which the audience moved, or in which they were somehow surrounded or emplaced by the performance, failed to capitalise on the value of the term ‘immersive‘. The cachet of the term reflects a valorisation