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

沉浸式戏剧过程

• 批准号: 2773469
• 金额: --
• 依托单位: University of the Arts London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2773469
• 关键词: PrImmersive; Theatre; Process; Production; Developing

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.

这项研究将通过提供沉浸式戏剧制作过程中使用的方法和过程的系统文档，为舞台设计和档案实践领域做出重大的原创贡献。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，其复杂的综合性促使了一个快速发展的创造性创新时期，这使得学术研究难以跟上。第一波浪潮是受21世纪初英国Punchdrunk等公司的流行所启发，催生了大量关于受众互动的学术关注和新理论(Alston (2013), Machon （2013), White(2012)）。随着时间的推移，“身临其境”一词已成为任何戏剧表演的代名词，哪怕只是涉及到一点点观众的代理。这些评论家认为，我们现在所说的沉浸式剧院实际上是一个不准确的总称，是传统（即散步和特定场地的剧院）和其他实验性数字格式的融合。马文·卡尔森（Marvin Carlson）认为，没有沉浸在历史中的剧院；它完全是二十一世纪为营销目的而合成的产品（2016）。这也受到了业内专业人士的质疑，他们拒绝将戏剧表演分为沉浸式和非沉浸式；在他们看来，任何足以将观众带入另一个时空的作品都符合这一当代定义(Jarvis （2019), Dixon(2015)）。最后，它受到了美学评论家的挑战，他们认为主流沉浸式戏剧主要是由资产阶级消费的（莱曼，2006年，118页）；因此，任何产出都不可避免地被困在传统的商业开发模式中，并抵制真正的艺术表达（拉莫斯，邓恩-豪里，马拉瓦拉和西蒙，2020）。这种对沉浸式戏剧的观众体验的关键关注在很大程度上忽视了其制作中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制作过程的各个方面。这项研究是及时的，因为它将讨论扩展到接受之外，包括对制作沉浸式作品所涉及的生产过程的密切分析，并提供如何在丢失之前捕获和保存这些快速变化的过程的策略。