國立高雄大學圖資館 |

Language: English

Back

Beyond immersive theatreaesthetics, ...

Alston, Adam.

Beyond immersive theatreaesthetics, politics and productive participation /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Beyond immersive theatreby Adam Alston.
Reminder of title:	aesthetics, politics and productive participation /
Author:	Alston, Adam.
Published:	London :Palgrave Macmillan UK :2016.
Description:	xiii, 241 p. :ill., digital ;22 cm.
Contained By:	Springer eBooks
Subject:	Performing artsAudiences.
Online resource:	http://dx.doi.org/10.1057/978-1-137-48044-6
ISBN:	9781137480446$q(electronic bk.)

Beyond immersive theatreaesthetics, politics and productive participation /
Alston, Adam.

Beyond immersive theatreaesthetics, politics and productive participation /[electronic resource] :by Adam Alston. - London :Palgrave Macmillan UK :2016. - xiii, 241 p. :ill., digital ;22 cm.

Introduction -- 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.

Immersive 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.

ISBN: 9781137480446$q(electronic bk.)

Standard No.: 10.1057/978-1-137-48044-6doiSubjects--Topical Terms:

350837
Performing arts
--Audiences.

LC Class. No.: PN1590.A9 / A47 2016

Dewey Class. No.: 792.01

Beyond immersive theatreaesthetics, politics and productive participation /
LDR:02422nmm a2200313 a 4500 001 489387
003 DE-He213
005 20161101113122.0
006 m d
007 cr nn 008maaau
008 161213s2016 enk s 0 eng d
020 $a 9781137480446$q(electronic bk.)
020 $a 9781137480439$q(paper)
024 7 $a 10.1057/978-1-137-48044-6 $2 doi
035 $a 978-1-137-48044-6
040 $a GP $c GP
041 0 $a eng
050 4 $a PN1590.A9 $b A47 2016
072 7 $a AS $2 bicssc
072 7 $a PER000000 $2 bisacsh
082 0 4 $a 792.01 $2 23
090 $a PN1590.A9 $b A464 2016
100 1 $a Alston, Adam. $3 747852
245 1 0 $a Beyond immersive theatre $h [electronic resource] : $b aesthetics, politics and productive participation / $c by Adam Alston.
260 $a London : $b Palgrave Macmillan UK : $b Imprint: Palgrave Macmillan, $c 2016.
300 $a xiii, 241 p. : $b ill., digital ; $c 22 cm.
505 0 $a Introduction -- 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.
520 $a Immersive 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.
650 0 $a Performing arts $x Audiences. $3 350837
650 0 $a Participatory theater. $3 645482
650 0 $a Experimental theater. $3 377933
650 0 $a Theater audiences. $3 288337
650 0 $a Theater $x Production and direction. $3 327669
650 1 4 $a Cultural and Media Studies. $3 732821
650 2 4 $a Performing Arts. $3 284098
710 2 $a SpringerLink (Online service) $3 273601
773 0 $t Springer eBooks
856 4 0 $u http://dx.doi.org/10.1057/978-1-137-48044-6
950 $a Literature, Cultural and Media Studies (Springer-41173)