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000755427 020__ $$a9781137480446$$q(electronic book)
000755427 020__ $$a1137480440$$q(electronic book)
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000755427 035__ $$aSP(OCoLC)ocn949930420
000755427 035__ $$aSP(OCoLC)949930420
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000755427 049__ $$aISEA
000755427 050_4 $$aPN1590.A9
000755427 08204 $$a792.022$$223
000755427 1001_ $$aAlston, Adam,$$eauthor.
000755427 24510 $$aBeyond immersive theatre$$h[electronic resource] :$$baesthetics, politics and productive participation /$$cAdam Alston.
000755427 264_1 $$aLondon :$$bPalgrave Macmillan,$$c[2016]
000755427 300__ $$a1 online resource
000755427 336__ $$atext$$btxt$$2rdacontent
000755427 337__ $$acomputer$$bc$$2rdamedia
000755427 338__ $$aonline resource$$bcr$$2rdacarrier
000755427 504__ $$aIncludes bibliographical references and index.
000755427 5050_ $$aIntroduction -- 1.Theatre in a Box: Affect and Narcissism in Ray Lee's Cold Storage -- 2.Theatre in the Dark: Spectatorship and Risk in Lundahl & Seitl's Pitch-black Theatre -- 3.Theatre through the Fireplace: Punchdrunk and the Neoliberal Ethos -- 4.Frustrating Theatre: Shunt in the Experience Economy -- 5.Theatre in the Marketplace: Immaterial Production in Theatre Delicatessen's Theatre Souks -- Conclusion.
000755427 506__ $$aAccess limited to authorized users.
000755427 520__ $$aImmersive theatre currently enjoys ubiquity, popularity and recognition in theatre journalism and scholarship. However, the politics of immersive theatre aesthetics still lacks a substantial critique. Does immersive theatre model a particular kind of politics, or a particular kind of audience? What's involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience's empowerment stand up to political scrutiny? Beyond Immersive Theatre contextualises these questions by tracing the evolution of neoliberal politics and the experience economy over the past four decades. Through detailed critical analyses of work by Ray Lee, Lundahl & Seitl, Punchdrunk, shunt, Theatre Delicatessen and Half Cut, Adam Alston argues that there is a tacit politics to immersive theatre aesthetics - a tacit politics that is illuminated by neoliberalism, and that is ripe to be challenged by the evolution and diversification of immersive theatre.
000755427 588__ $$aOnline resource; title from PDF title page (viewed June 01, 2016).
000755427 650_0 $$aPerforming arts$$xAudiences.
000755427 650_0 $$aParticipatory theater.
000755427 650_0 $$aExperimental theater.
000755427 650_0 $$aTheater audiences.
000755427 650_0 $$aTheater$$xProduction and direction.
000755427 852__ $$bebk
000755427 85640 $$3SpringerLink$$uhttps://univsouthin.idm.oclc.org/login?url=http://link.springer.com/10.1057/978-1-137-48044-6$$zOnline Access$$91397441.1
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000755427 980__ $$aEBOOK
000755427 980__ $$aBIB
000755427 982__ $$aEbook
000755427 983__ $$aOnline
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