In this paper, we aim to illustrate the extent to which a few immersive theatre experiences involve a reconfiguration of the categories of space, time and action to which we are usually accustomed as spectators comfortably seated in an audience. By way of example, to describe these unprecedented dynamics of perception of the immersive experience, we shall refer to The Burnt City performed by the British theatre company Punchdrunk as a case study.
Un mondo possibile in una stanza: la "sommersività" come forma di trascendenza
Massimo Roberto Beato
2023-01-01
Abstract
In this paper, we aim to illustrate the extent to which a few immersive theatre experiences involve a reconfiguration of the categories of space, time and action to which we are usually accustomed as spectators comfortably seated in an audience. By way of example, to describe these unprecedented dynamics of perception of the immersive experience, we shall refer to The Burnt City performed by the British theatre company Punchdrunk as a case study.
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