LEADER 02838nam 22004095 450 001 9910255251903321 005 20200703043711.0 010 $a1-137-48044-0 024 7 $a10.1057/978-1-137-48044-6 035 $a(CKB)3710000000685348 035 $a(DE-He213)978-1-137-48044-6 035 $a(MiAaPQ)EBC4720190 035 $a(EXLCZ)993710000000685348 100 $a20160509d2016 u| 0 101 0 $aeng 135 $aurnn|008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBeyond Immersive Theatre $eAesthetics, Politics and Productive Participation /$fby Adam Alston 205 $a1st ed. 2016. 210 1$aLondon :$cPalgrave Macmillan UK :$cImprint: Palgrave Macmillan,$d2016. 215 $a1 online resource (XIII, 241 p. 7 illus.) 311 $a1-137-48043-2 320 $aIncludes bibliographical references at the end of each chapters and index. 327 $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. 330 $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. 606 $aPerforming arts 606 $aPerforming Arts$3https://scigraph.springernature.com/ontologies/product-market-codes/415030 615 0$aPerforming arts. 615 14$aPerforming Arts. 676 $a790 700 $aAlston$b Adam$4aut$4http://id.loc.gov/vocabulary/relators/aut$01062359 906 $aBOOK 912 $a9910255251903321 996 $aBeyond Immersive Theatre$92525067 997 $aUNINA