Immersive Worlds: an exploration of how performers facilitate the Three Worlds in Immersive Performance

This research will consider the notion that the immersive performance event consists of Three Worlds-The Fictional, Now and Imaginary and how an understanding of the qualities of these three worlds, in particular the Now and the Imaginary, are instrumental to a performer’s training in creating immersive theatre. To do this, the research draws upon facilitation techniques from applied drama, mapping some of the fundamental skills required from a performer making immersive theatre, that has yet to be articulated by the field. It argues that the use of core facilitation skills such as rapport, listening, reading micro gestures and effective questioning, can be used by the performer to effectively manage the demands of the Now and Imaginary worlds. To illustrate this, the paper examines a creative training day with recent graduate drama students from Liverpool John Moores University (LJMU) and students from the Community Drama degree at Liverpool Institute of Performing Arts (LIPA), as well as drawing upon the authors’ collective experience of creating and performing in immersive theatre. A key insight from the training day was for student/performers to gain an understanding into the audience member's experiences in immersive performance and how this consideration impacts on the performer's practice. The findings are significant for companies, directors, and performers interested in utilizing immersive theatre to inform the creation of immersive work

Intimacy across visceral and digital performance

Intimacy Across Visceral and Digital Performance is an edited collection designed to address a diverse set of critical responses to and practical interrogations of the notion of being intimate in emergent and hybrid performance practices, aiming to elicit connectivity and provoke debate about the potency, nature and agency of intimacy in contemporary performance.Lauren Berlant suggests that 'intimacy (…) involves an aspiration for a narrative about something shared' (2000, p. 1). Sensing intimacy in performance relocates registers of affect from the private experience to the public sphere. Within the current climate of intense global political, social and financial insecurity and unrest, at a time infused with both hope and fear, artists appear to be demonstrating a desire for intimacy and closeness with the Other. Those public figurings of intimacy – staged through contemporary performance, visual culture and digital art practices – become the cultural fuel which, when placed alongside political potentialities, can ignite debates and provocations such as those contained herein