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EN
Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.
EN
Immersive theatre, a theatrical form emerging at the beginning of the 21st century, invites spectators to become immersed in interactive theatre performances. The use of the term immersive indicates a strong influence from digital media, particularly from virtual worlds (VWs). Immersive theatre and VWs appear to share characteristics. A systematic comparative approach tracing the presence of characteristics shared by immersive theatre and VWs (i.e., virtuality, worldliness, information intensity), among others, still unique to VWs (i.e., agency, ergodicity), reveals that immersive theatre has assimilated some VWs characteristics while still being in the process of negotiating others. The paradigm of pervasive games is brought into the conversation to claim immersive theatre as a partially successful case of theatre gamification, revising theatrical and dramatic conventions, towards what could be called a digitally and ludically inspired neo-dramatic. New intermedial forms of expression could benefit from the adoption of a game/play frame.
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