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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On Being Immersed: , audience interaction and appreciation as a result. The chapter begins with an overview of the key terms and defining features of immersive theatres, first introduced in Machon‘s Immersive Theatres (Palgrave Macmillan, 2013), to show the way in which such work prioritises embodied interaction in the

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Negotiating the Possible Worlds of Uninvited Guests’ ,: A Hypertextual Experienceroduction . It proposes that this philosophical framework facilitates a new way of considering the spectator’s creative input and generative response to the participatory performance event. Examining how Possible Worlds Theory is used by digital theorists to elucidate the processes of hypertext fict

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Immersed in Sound: , and the Phenomenology of Aural Experience (distractedness) over and against listening (attentiveness), Home-Cook invites us to reconsider aural immersion in . terms. He urges us to pay closer attention to the dynamics of embodied attending: immersion . ‘.’ (Arvidson 2006; emphasis original). Referring to Sound&Fury’s ., the interview consi

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: Intimacy and Immersion for Family Audiencesence. Couched as a visit to a micronation, the piece was conceived as an immersive performance for six spectators at a time in an old caravan and has toured extensively. Ledger explores the reasons for creating the work, especially the desire to address a lack of intimate performance work for childr