Immersive Theatre

Theatremaker Drew Paryzer discusses the creative potential of interactive art and the impact that the “playability” of a show can have on audiences.

In Martin Domecq’s contribution to the Climate Emergency series, he puts four Brazillian performance art pieces in conversation to draw upon the poetic, political, and civic lessons they offer. These performances—which range from installations to solo and group performances—model possible paradigms that work against ecological crisis.

Aly Perry shares her experience of transformative public intimacy in 600 Highwaymen’s recent immersive show.

Playwright and environmentalist Alice Stanley Jr. shares her experience of Capital W’s newest immersive theatre piece, Fire Season—a play about climate change that took place in the Santa Monica Mountains during this year’s wildfires.

Blair Cadden explores how immersive theatre can adopt BDSM practices—including negotiations, safewords, and aftercare—to create safer experiences for both actors and audience members.

Adi Eshman discusses Exquisite Corpse Company’s immersive play Water, Water, Everywhere..., which took place on New York Harbor’s Governors Island.

James Montaño discusses The Donkey Show, cross-gendered performances vs. drag, camp as an aesthetic concept, and more.

May Antaki reflects on the Digital + Performance Convening, produced by HowlRound Theatre Commons and SpiderWebShow Performance, which focused on the intersection of digital technology and live performance.

verity healey does a deep-dive into the Our Stage – 4th European Bürgerbühne Festival, which took place in Dresden, Germany, in May 2019.

verity healey examines the concept of theatrical space as it applies to two shows that were presented at Germany’s Our Stage festival in May: Invited and A Doll’s House.

Howard Shalwitz, Karen Houppert, and Yury Urnov reflect on the productions they saw at this year’s Golden Mask Theatre Festival in Moscow, Russia.

Anne Hamburger, founder of En Garde Arts, talks about the beginnings of her company, and, with it, the beginnings of site-specific theatre in New York City.