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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
허순자 (서울예술대학교)
저널정보
한국연극교육학회 연극교육연구 연극교육연구 제29권 제29호
발행연도
2016.1
수록면
309 - 338 (30page)

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초록· 키워드

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Immersive theatre is one of the newly emerged theatre genres in today's Western theatre. Prevalent in the English speaking world, British theatre, in particular, it has grown a great deal as an autonomous performing art genre in its own with its increasing appeal to public. Yet its artistic validity as well as its speedy admission to both subsidized institutions such as the NT and others and commercial sector are called for critical reexamination. Immersive theatre is often referred to either/or both a site-specific theatre or/and promenade theatre. Those contemporaneous genres which embrace, to a degree, similar elements in form and practice as they all occur in places beyond the purpose-built theatre spaces. Yet, each proclaims its own individual artistic temperaments and criteria by which distinguish one another. It may not easy to define clearly what makes immersive theatre different from those neighboring genres. For it cannot, as Josephine Machon states, be defined "with fixed and determinate codes and conventions," but it does "expose qualities, features and forms that enable us to know what 'it' is when we are experiencing." By taking cues from that statement, this paper intends to note the immersive theatre's distinct aesthetic temperaments considered to be the most significant: spatiality and audience mobility. Here, spatiality is rendered an 'alternative space' as reminded by both Hénri Lefebre's concept of "pre-existence of space" and Michel Foucault's "hétérotopies". In immersive theatre's spaciality, the ingredients of landscape, installation, architectural and interior design, scenography, digital technologies, soundscape and other interdisciplinary media conspire together, in order to facilitate the audience's full immersivity through poly-sensory and interactive experiences during its mobile exploration of the space. While the audience interacts with the performers, responding to the space of the epic environment, it happens to become Jacques Rancière's 'emancipated audience' who participates actively in the creation of narratives of its own. The above investigation of spaciality and audience mobility is, then, applied to Punchdrunk's immersive production of ≪Sleep No More≫ which has been running in New York City since early 2011 to date. This award-winning, popular piece has endeavored to empower the audience-immersant by making full uses of the effectiveness of immersive aesthetics in terms of spaciality and audience mobility. Yet it proves, along with the current practices of immersive theatre in general, that this genre is still, despite certain merits, in need to establish its true artistic validity in order to test its genuine worthiness.
#audience mobility #Sleep No More #immersive theatre #spaciality #Punchdrunk Theatre

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참고문헌 (25)

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이진아 / 2014 / 장소특정적 연극에서 ‘장소’와 ‘장소성’의 문제 - 서울의 도시 이동 퍼포먼스를 중심으로 - / 한국연극학 1(54):73~122 dbpia Barrett, Felix / Director Felix Barrett on the Dark and Dangerous Interactive World of Sleep No More google schola Billington, Michael / E is for Experiment google schola Birch, Anna / 2012 / Performing Site-Specific Theatre / Palgrave google schola Brantley, Ben / Shakespeare Slept Here, Albeit Fitfully google schola

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