PrImmersive Theatre Process & Production: Developing a Capture Methodology for Archiving Digital Storytelling

这项研究将通过提供沉浸式剧院制作过程中使用的方法和过程的系统文档，为场景设计和档案实践领域做出重要的原创性贡献。沉浸式剧院越来越多地结合了虚拟现实，丰富的视听设计和特定场地的表演空间，其复杂的综合性质促使了一个快速发展的创意创新时期，使得学术研究难以跟上。第一波，受公司的流行，如21世纪初在英国的Punchdrunk的启发，催生了大量的学术关注和新的理论关于观众互动（阿尔斯顿（2013），Machon（2013），白色（2012））。随着时间的推移，术语“沉浸式”已经成为一个不加区别的转喻，用于任何戏剧表演，甚至涉及一点点观众代理。这些批评者认为，我们现在所说的沉浸式剧院实际上是一个不精确的总括术语，指的是传统（即，长廊和特定地点的剧院）和其他实验性数字格式。Marvin Carlson认为没有历史沉浸式剧院;它完全是21世纪出于营销目的的合成产品（2016）。这也是有争议的行业专业人士谁拒绝戏剧表演分为沉浸式和非沉浸式的分歧;在他们看来，任何生产，充分运输观众到另一个时间和地点符合这一当代定义（贾维斯（2019），狄克逊（2015））。最后，它在美学上受到了批评家的挑战，他们认为主流沉浸式戏剧主要是由资产阶级消费的（Lehmann，2006，p118）;因此，任何作品都不可避免地陷入传统的商业开发模式，并抵制真正的艺术表达。（拉莫斯，邓恩豪利，马拉瓦拉和西蒙，2020年）这种对沉浸式戏剧的观众体验的批判性关注在很大程度上忽视了其制作中所采用的创新和快速变化的实践，特别是数字技术，以及这些技术如何影响整个行业生产过程的各个方面。这项研究是及时的，因为它将展开讨论超越接收，包括密切分析的生产过程中涉及的沉浸式工作，并提供战略，以如何这些快速变化的过程可能becaptured和保存之前，他们失去了。

This research will lead to a significant original contribution to the field of scenography and archival practiceby providing a systematic documentation of the methods and processes utilised during the production ofimmersive theatre.The complex integrative nature of immersive theatre that increasingly combines virtual reality, rich audiovisual design and site-specific performance spaces has prompted a fast-moving period of creativeinnovation, making it difficult for academic research to keep up. The first wave, inspired by the popularity ofcompanies such as Punchdrunk in the UK at the start of the twenty-first century, spawned a raft of academicattention and new theories about audience interaction (Alston (2013), Machon (2013), White (2012)). Overtime the term immersive has come to be an indiscriminate metonym for any theatrical performance whichinvolves even a modicum of audience agency. These critics argue that what we now refer as immersivetheatre is in fact an imprecise umbrella term for a confluence of traditional (i.e., promenade and site-specifictheatre) and other experimental digital formats. Marvin Carlson suggests there is no historical immersivetheatre; it is entirely a synthetic product of the twenty-first century for marketing purposes (2016). It is alsocontested by industry professionals who reject the bifurcation of theatrical performance into immersive andnon-immersive; in their view, any production which sufficiently transports the audience into another time andplace meets this contemporary definition (Jarvis (2019), Dixon (2015)). Finally, it has been challengedaesthetically by critics who contend mainstream immersive theatre is predominantly consumed by thebourgeoisie (Lehmann, 2006, p118); any output is therefore inevitably trapped within conventional modes ofcommercial exploitation and resistant to genuine artistic expression (Ramos, Dunne-Howrie, Maravala &Simon, 2020).This critical focus on the audience experience of immersive theatre has largely ignored the innovative andrapidly changing practices employed in its production, specifically digital technologies and how these areimpacting all aspects of the production process across the industry. This research is timely because it willexpand discussions beyond reception to encompass a close analysis of the production processes involvedin the making of immersive work and offer strategies as to how these rapidly changing processes may becaptured and preserved before they are lost.