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Beyond immersive theatre = aesthetic...

Alston, Adam.

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Beyond immersive theatre = aesthetics, politics and productive participation /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Beyond immersive theatre/ by Adam Alston.
Reminder of title:	aesthetics, politics and productive participation /
Author:	Alston, Adam.
Published:	London :Palgrave Macmillan UK : : 2016.,
Description:	xiii, 241 p. :ill., digital ;22 cm.
[NT 15003449]:	Introduction -- 1.Theatre in a Box: Affect and Narcissism in Ray Lee's Cold Storage -- 2.Theatre in the Dark: Spectatorship and Risk in Lundahl & Seitl's 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 Delicatessen's Theatre Souks -- Conclusion.
Contained By:	Springer eBooks
Subject:	Performing arts - Audiences. -
Online resource:	http://dx.doi.org/10.1057/978-1-137-48044-6
ISBN:	9781137480446

Beyond immersive theatre = aesthetics, politics and productive participation /
Alston, Adam.

Beyond immersive theatreaesthetics, politics and productive participation /[electronic resource] :by Adam Alston. - London :Palgrave Macmillan UK :2016. - xiii, 241 p. :ill., digital ;22 cm.

Introduction -- 1.Theatre in a Box: Affect and Narcissism in Ray Lee's Cold Storage -- 2.Theatre in the Dark: Spectatorship and Risk in Lundahl & Seitl's 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 Delicatessen's Theatre Souks -- Conclusion.

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? 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.

ISBN: 9781137480446

Standard No.: 10.1057/978-1-137-48044-6doiSubjects--Topical Terms:

1006985
Performing arts
--Audiences.

LC Class. No.: PN1590.A9 / A47 2016

Dewey Class. No.: 792.01

Beyond immersive theatre = aesthetics, politics and productive participation /
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520 $a 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? 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.
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