Immersive theatre currently enjoys ubiquity, popularity and recognition in theatre journalism and scholarship. However, the politics of immersive theatre aesthetics still lacks a substantial critique. Does immersive theatre model a particular kind of politics, or a particular kind of audience? Whats involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audiences empowerment stand up to political scrutiny?
Beyond Immersive Theatre contextualises these questions by tracing the evolution of neoliberal politics and the experience economy over the past four decades. Through detailed critical analyses of work by Ray Lee, Lundahl & Seitl, Punchdrunk, shunt, Theatre Delicatessen and Half Cut, Adam Alston argues that there is a tacit politics to immersive theatre aesthetics a tacit politics that is illuminated by neoliberalism, and that is ripe to be challenged by the evolution and diversification of immersive theatre.
Recenzijas
Beyond Immersive Theatre asks important questions and offers apposite interpretations according to the parameters for analysis it sets. These undoubtedly inform and challenge the reader. I would wholeheartedly recommend this book to anyone interested in engaging in discussion around, and beyond, the aesthetics and politics of immersive theatre. (Josephine Machon, Journal of Contemporary Drama in English, Vol. 6 (2), November, 2018)
Introduction.- 1.Theatre in a Box: Affect and Narcissism in Ray Lees
Cold Storage.- 2.Theatre in the Dark: Spectatorship and Risk in Lundahl &
Seitls Pitch-black Theatre.- 3.Theatre through the Fireplace: Punchdrunk and
the Neoliberal Ethos.- 4.Frustrating Theatre: Shunt in the Experience
Economy.- 5.Theatre in the Marketplace: Immaterial Production in Theatre
Delicatessens Theatre Souks.- Conclusion.
Adam Alston is Lecturer in Theatre and Performance Studies at the University of Surrey, UK. His research explores immersive theatre, theatre in the dark, and a range of themes in contemporary theatre including secrecy, labour and error. He is a contributing editor to Contemporary Theatre Reviews Interventions and a Creative Associate with Curious Directive.
