Beyond Immersive Theatre

Zusatztext

<div> </div><div><div>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? What¿s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience¿s empowerment stand up to political scrutiny? </div><div> </div><div><i>Beyond Immersive Theatre</i> 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.</div></div><div> </div>

Autorenportrait

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 <i>Contemporary Theatre Review</i>¿s Interventions and a Creative Associate with Curious Directive.

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