Immersive Theatre

Playwright and producer Samantha Mueller talks to director and educator Colleen Rua about their mutual passion for immersive theatre.

Researcher and lecturer Joris Weijdom of HKU University of the Arts Utrecht, Netherlands on what the Internet of things, transmedia, and mixed reality might mean for theatremakers and theatremaking. 

In this installment, Damon Krometis shares his experience with garnering audience collaboration and gives tips on how to best include audience members in a performance. 

Playwright Peter Sinn Nachtrieb reflects on the production process of his play A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry.

Erin Mee explores the role of stage manager and shares Stage Manager Sophia Lana Cohen’s perspective on working with This is Not a Theatre Company.

Caridad Svich considers spectatorship and audience in anticipation of the 10th NoPassport “Dreaming the Americas” theatre and performance conference on Monday, March 14, 2016.

In this last installment, Producing Artistic Director Tami Dixon reflects on the role of the actor’s relationship with audience members in immersive theatre. 

Jonathan Mandell explores five common elements in immersive theatre, and what makes immersive theatre successful.

In this installment, Hannah Nielsen-Jones shares her process for stage managing OjO in Pittsburgh and San Diego.

In this installment, Damon Krometis discusses Natasha, Pierre, and the Great Comet of 1812 and the relationship between watching and being watched for theatregoers.

In this installment, Gab Cody discusses her writing process for both iterations of OjO in Pittsburgh and San Diego.

verity healey offers an overview of pop up performances by Belarus Free Theatre’s studio Fortinbras, highlighting the treatment of disabled citizens in Belarus.

In this third installment, Sam Turich discusses the question of identity and its relationship to audiences in Pittsburgh and San Diego.

In the third installment of his series, Damon Krometis explores how much agency to give audiences during an interactive performance.

In this first installment, Artistic Director Jeffrey Carpenter discusses the origins of Bricolage’s OjO: The Next Generation of Travel performance.

A consideration of how to make successful marathon-length theatre based on Sean Graney’s All Our Tragic production of 32 Greek tragedies.

Liane Tomasetti discusses evaluating the impact of her team’s site-specific project and future implications for the community. 

Phil Weaver-Stoesz describes an immersive theatrical experience where the audience took control of the narrative, and asks what rules, if any, we should set for audience members in non-traditional works.

Romanian playwright Peca Ştefan discusses a project to research and engage with residents to tell the stories of towns throughout Romania.

Scholar and theater practitioner Erin Mee, considers how by giving time-space to the sensoria, immersive, and interactive productions are inherently rasic.

In this last installment of her series, Mikhael Tara Garver explores sight, memory, and what happened to her when a literal wall came down on her.

"Audience participation" is a vague term, like much of theatrical terminology; it has come to mean different things to different people... What happens when the audience participates by becoming performers—without volunteering to do so?

Mikhael Tara Garver explores the difference between taste and estimation, and the responsibility an open-frame theatremaker has to an audience who is unsure what to expect.

Based on interviews with local teachers and students about the current educational climate, Forgotten Futures creates space for discussion of the dysfunction plaguing Chicago Public Schools.