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Conducting and Composing, : How We Are Moved Through the Immersive, Theatrical Experience Machine of

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Rachel Baynton, Creative Engagement Producer and Associate Professor in Arts and Cultural Production, reflects on her experiences of Solo from her perspective as an artist working across disciplines with Proto-type Theater, and the role of the audience in creating immersive performance to ask: how does an ‘experience machine’ work? (Alston, 2016)

Keywords: Arts and Culture ; Audience Participation ; Audience Studies ; Co-creation ; Collaboration ; Creative Arts ; Dramaturgy ; Immersive Theatre ; One to One Performance ; Performance ; Performance Studies ; Solo Performance ; Theatre ; Theatre Practioners ; Theatre Studies

Hardback ISBN: 9781789389333
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References

  1. Alston, Adam (2016), Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation, London: Palgrave Macmillan.
     [Google Scholar]
  2. Babbage, Frances (2017), Adaptation in Contemporary Theatre: Performing Literature, London: Bloomsbury Methuen Drama.
     [Google Scholar]
  3. Biggin, Rose (2017), Immersive Theatre and Audience Experience: Space, Game and Story in the Work of Punchdrunk, Cham: Palgrave Macmillan.
     [Google Scholar]
  4. dreamthinkspeak (2017), ‘One Day Maybe’ (live performance), Kasang Corporation – Hull City of Culture 2017. Accessed 21 September 2017.
  5. Dunne-Howrie, Joseph (2019), ‘Trans-participation in the infosphere (paper)’, DocPerform 3: Postdigital Symposium, City, University of London, 16 May.
  6. Frieze, James (2016), ‘Reframing immersive theatre: The politics and pragmatics of participatory performance’, in J. Frieze (ed.), Reframing Immersive Theatre, London: Palgrave Macmillan.
     [Google Scholar]
  7. Hissett, James (2019), ‘Solo’ [full video], Vimeo, 1 December, https://vimeo.com/346954199. Accessed 3 September 2020 .
  8. Jarvis, Liam (2019), Immersive Embodiment: Theatres of Mislocalized Sensation, Cham: Palgrave Macmillan.169
     [Google Scholar]
  9. Machon, Josephine (2016), ‘On being immersed: The pleasure of being: Washing, feeding, holding’, in J. Frieze (ed.), Reframing Immersive Theatre, London: Palgrave Macmillan.
     [Google Scholar]
  10. Musictheory.org.uk (2020), ‘Italian musical terms’, http://www.musictheory.org.uk/res-musical-terms/italian-musical-terms.php. Accessed 3 September 2020 .
  11. Pinchbeck, Michael and Smith, Ollie (2017a), ‘Solo – Premiere’ (live performance), Frequency Festival of Digital Culture 2017: The Blue Room, Lincoln. Accessed 26 October 2017.
  12. Pinchbeck, Michael and Smith, Ollie (2017b), Solo (script). Unpublished, provided by the authors.
  13. Pinchbeck, Michael and Smith, Ollie (2019a), ‘Solo’ (live performance), Lincoln Performing Arts Centre – PopOut Festival 2019: St Mary le Wigford Church, Lincoln. Accessed 1 October 2019.
  14. Pinchbeck, Michael and Smith, Ollie (2019b), Solo (programme notes), Lincoln Performing Arts Centre – PopOut Festival 2019: St Mary le Wigford Church, Lincoln, Performed 1 October.
  15. Pinchbeck, Michael and Smith, Ollie (2019c), Interviewed by Laura Swain, ‘Solo: An Innovative Immersive Audience Experience’, PopOut Festival brochure, Lincoln: Lincoln Performing Arts Centre.
  16. Ravel, Maurice (1924), Tzigane [Musical Score], Paris: Durand et Cie.
     [Google Scholar]
  17. Trueman, Matt (2017), ‘Review: One Day, Maybe (Kasang Corporation, Hull City Centre) | Whatsonstage’, Whatsonstage.com, 1 September–1 October 2017, https://www.whatsonstage.com/hull-theatre/reviews/one-day-maybe-kasang-hull-city-dreamthinkspeak_44565.html. Accessed 3 September 2020 .
  18. Wright, Hannah (2018), ‘Flight | Review | The Wee Review | Scotland's Arts and Culture Magazine’, The Wee Review | Scotland's Arts and Culture Magazine, 8 August, https://theweereview.com/review/flight-3/. Accessed 3 September 2020 .

References

  1. Alston, Adam (2016), Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation, London: Palgrave Macmillan.
     [Google Scholar]
  2. Babbage, Frances (2017), Adaptation in Contemporary Theatre: Performing Literature, London: Bloomsbury Methuen Drama.
     [Google Scholar]
  3. Biggin, Rose (2017), Immersive Theatre and Audience Experience: Space, Game and Story in the Work of Punchdrunk, Cham: Palgrave Macmillan.
     [Google Scholar]
  4. dreamthinkspeak (2017), ‘One Day Maybe’ (live performance), Kasang Corporation – Hull City of Culture 2017. Accessed 21 September 2017.
  5. Dunne-Howrie, Joseph (2019), ‘Trans-participation in the infosphere (paper)’, DocPerform 3: Postdigital Symposium, City, University of London, 16 May.
  6. Frieze, James (2016), ‘Reframing immersive theatre: The politics and pragmatics of participatory performance’, in J. Frieze (ed.), Reframing Immersive Theatre, London: Palgrave Macmillan.
     [Google Scholar]
  7. Hissett, James (2019), ‘Solo’ [full video], Vimeo, 1 December, https://vimeo.com/346954199. Accessed 3 September 2020 .
  8. Jarvis, Liam (2019), Immersive Embodiment: Theatres of Mislocalized Sensation, Cham: Palgrave Macmillan.169
     [Google Scholar]
  9. Machon, Josephine (2016), ‘On being immersed: The pleasure of being: Washing, feeding, holding’, in J. Frieze (ed.), Reframing Immersive Theatre, London: Palgrave Macmillan.
     [Google Scholar]
  10. Musictheory.org.uk (2020), ‘Italian musical terms’, http://www.musictheory.org.uk/res-musical-terms/italian-musical-terms.php. Accessed 3 September 2020 .
  11. Pinchbeck, Michael and Smith, Ollie (2017a), ‘Solo – Premiere’ (live performance), Frequency Festival of Digital Culture 2017: The Blue Room, Lincoln. Accessed 26 October 2017.
  12. Pinchbeck, Michael and Smith, Ollie (2017b), Solo (script). Unpublished, provided by the authors.
  13. Pinchbeck, Michael and Smith, Ollie (2019a), ‘Solo’ (live performance), Lincoln Performing Arts Centre – PopOut Festival 2019: St Mary le Wigford Church, Lincoln. Accessed 1 October 2019.
  14. Pinchbeck, Michael and Smith, Ollie (2019b), Solo (programme notes), Lincoln Performing Arts Centre – PopOut Festival 2019: St Mary le Wigford Church, Lincoln, Performed 1 October.
  15. Pinchbeck, Michael and Smith, Ollie (2019c), Interviewed by Laura Swain, ‘Solo: An Innovative Immersive Audience Experience’, PopOut Festival brochure, Lincoln: Lincoln Performing Arts Centre.
  16. Ravel, Maurice (1924), Tzigane [Musical Score], Paris: Durand et Cie.
     [Google Scholar]
  17. Trueman, Matt (2017), ‘Review: One Day, Maybe (Kasang Corporation, Hull City Centre) | Whatsonstage’, Whatsonstage.com, 1 September–1 October 2017, https://www.whatsonstage.com/hull-theatre/reviews/one-day-maybe-kasang-hull-city-dreamthinkspeak_44565.html. Accessed 3 September 2020 .
  18. Wright, Hannah (2018), ‘Flight | Review | The Wee Review | Scotland's Arts and Culture Magazine’, The Wee Review | Scotland's Arts and Culture Magazine, 8 August, https://theweereview.com/review/flight-3/. Accessed 3 September 2020 .

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