Immersion in the performing arts: Why is the liminal such a central trope of immersive dramaturgies and what are the implications of this upon the ontology of the audience's role?

Law, Suzannah (2016) Immersion in the performing arts: Why is the liminal such a central trope of immersive dramaturgies and what are the implications of this upon the ontology of the audience's role? BA dissertation, University of Portsmouth.

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    Abstract

    This dissertation explores why the liminal is such a central trope, if not the most central trope of immersive dramaturgy. It also looks at how depending on the variation of performance, whether it be Immersive Theatre, Immersive Performance, or Micro-Performance, will determine a different set of requirements from an audience, and in turn a particular experience. It uses a localised and subjective first person perspective walkthrough of an immersive performance A House Repeated (2016), and a micro-performance Monument (2015) which is then used in the analysis to determine whether the liminal is a central trope of immersive dramaturgy by looking at the roles offered to the audience. This dissertation argues that the liminal is such a central trope, due to the nature of inviting the audience into a radically charged liminal space where anything can happen. Their role is susceptible to adapt within the liminal space and, in turn, determine their experience.

    Item Type: Dissertation
    Departments/Research Groups: Faculty of Creative and Cultural Industries > School of Media and Performing Arts
    Depositing User: Jane Polwin
    Date Deposited: 21 Mar 2017 15:08
    Last Modified: 21 Mar 2017 15:08
    URI: http://eprints.port.ac.uk/id/eprint/22678

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