In this section, you’ll find content about work created for and performed outside of conventional theatre spaces. Artists describe the reasons for making such work, and the challenges that come along with it. Consider starting with Anne Hamburger’s “The Why and How of Site-Specific” or Gab Cody’s essay on writing for immersive and site-informed experiences.
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.
Theatremaker Callie Nestleroth discusses devising a show for a library space and shares the process she developed when approaching new site-specific projects.
Teatro Línea de Sombra Connects with Portland, Oregon and the Pacific Northwest
5 August 2018
Georgina Young-Ellis looks at the history of the innovative Mexican theatre company Teatro Línea de Sombra, its connection to Portland, Oregon, and two of their projects: Amarillo and Rebuilding Small Territories.
Using Storytelling and Dance to Transform a Community Space
1 May 2018
Caroline Prugh discusses Kaimera Productions’ SPACES, a site-specific performance weaving together storytelling and dance that took place in June 2017 at the Harlem Arts Festival in New York City.
Revenge of the Image and the Wuzhen Theatre Festival
28 January 2018
Artistic Director Travis Preston on the cross-cultural collaboration of bringing Fantômas: Revenge of the Image from CalArts to the Wuzhen Theatre Festival.
In this second installment, Megan Reilly discusses her participation in Ascension, the second phase of The Tension Experience, and reflects on agency for audience members in this immersive experience.
Double Edge Theatre’s Latin American Cycle Builds Bridges Across Massachusetts
20 October 2016
Josh Platt on Double Edge Theatre’s Latin American Spectacle in Jamaica Plain, Massachusetts, Cada Luna Azul / Once a Blue Moon in Ashfield, Massachusetts, and the Springfield Spectacle, in Springfield, Massachusetts.
In this first installment, Megan Reilly shares her experience with the first phase of The Tension Experience, a project that’s a cross between immersive theatre and an Alternate Reality Game.
verity healey offers an overview of pop up performances by Belarus Free Theatre’s studio Fortinbras, highlighting the treatment of disabled citizens in Belarus.
Lessons of The Fall Season from A Class Of New York Newcomers
22 December 2015
Jonathan Mandell reflects on the Fall season of New York theatre through the lens of Erin Mee’s “Drama and Performance” class at NYU, in which students see and discuss sixteen shows throughout the semester.