Un mondo possibile in una stanza: la "sommersività" come forma di trascendenza
The actor-spectator relationship is not articulated according to the same parameters and stable values over time. In this paper, we aim to illustrate the extent to which a few immersive theatre experiences involve a reconfiguration of the categories of space, time and action to which we are usually...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | Italian |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
[publisher not identified]
2023
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| In: |
Annali di studi religiosi
Year: 2023, Volume: 24, Pages: 89-97 |
| Online Access: |
Volltext (kostenfrei) |
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| 520 | |a The actor-spectator relationship is not articulated according to the same parameters and stable values over time. In this paper, we aim to illustrate the extent to which a few immersive theatre experiences involve a reconfiguration of the categories of space, time and action to which we are usually accustomed as spectators comfortably seated in an audience. By way of example, to describe these unprecedented dynamics of perception of the immersive experience, we shall refer to The Burnt City performed by the British theatre company Punchdrunk as a case study. Finally, we shall argue that the being-in-the-moment effect generated through the strategies actualized in Punchdrunk's performance may, in turn, trigger in the spectator a further effect of submersivity, which can be interpreted as a form of transcendence. | ||
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