Citations (52)
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Read on this site (15)
Özlem Gezgin & Çağrı Imamoğlu. (2023) Audience behavior in immersive theatre: an environment-behavior studies analysis of Punchdrunk’s Sleep No More. Studies in Theatre and Performance 0:0, pages 1-17.
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Misha Hadar & Jared D. Margulies. (2023) Hostile Terrain 94, Installation, and Meditative Explorations of the US-Mexico Borderlands. GeoHumanities 9:1, pages 140-157.
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Emma Willis. (2021) White supremacist performance and its refusal: a reflection on the mosque shootings in Christchurch, Aotearoa New Zealand. Studies in Theatre and Performance 41:3, pages 236-246.
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Joseph Dunne-Howrie. (2021) Networked audience participation: the futurity of post-Brexit democracy in One Day, Maybe and Operation Black Antler. Studies in Theatre and Performance 41:3, pages 339-357.
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Abiola Sobitan & Peter Vlachos. (2020) Immersive event experience and attendee motivation: a quantitative analysis using sensory, localisation, and participatory factors. Journal of Policy Research in Tourism, Leisure and Events 12:3, pages 437-456.
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Teri Howson-Griffiths. (2020) Locating sensory labyrinth theatre within immersive theatres' history. Studies in Theatre and Performance 40:2, pages 190-205.
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Rebecca Savory Fuller. (2018) The Interactivity Lab: training toward the performer as ‘Architect-Clown’. Theatre, Dance and Performance Training 9:2, pages 234-250.
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Christina Kapadocha. (2018) Towards witnessed thirdness in actor training and performance. Theatre, Dance and Performance Training 9:2, pages 203-216.
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Sarah Hogarth, Emma Bramley & Teri Howson-Griffiths. (2018) Immersive worlds: an exploration into how performers facilitate the three worlds in immersive performance. Theatre, Dance and Performance Training 9:2, pages 189-202.
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Adam Alston. (2017) Immersive theatre and the aesthetics of decadence: on the ruined worlds of Punchdrunk, SHUNT and Hammer Film Productions. Theatre and Performance Design 3:4, pages 199-217.
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Royona Mitra. (2016) Decolonizing Immersion. Performance Research 21:5, pages 89-100.
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Katharina Rost. (2016) Drowsing in Theatre Performances. Performance Research 21:1, pages 110-114.
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Danielle Drees. (2016) The Sleeping Spectator. Performance Research 21:1, pages 101-105.
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Clio Unger. (2015) ‘SHOOT HIM NOW!!!’ Anonymity, accountability and online spectatorship in Wafaa Bilal's Domestic Tension. International Journal of Performance Arts and Digital Media 11:2, pages 202-218.
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Jessica Santone. (2014) The Economics of the Performative Audience. Performance Research 19:6, pages 30-36.
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Articles from other publishers (37)
Emma ColeEmma Cole. 2024. Punchdrunk on the Classics. Punchdrunk on the Classics
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Ágnes Karolina Bakk. (2023) Representing mental disorders with virtual reality applications: Designing for multimodality and complex participation. Frontiers in Virtual Reality 3.
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Xuanjin Wu, Meng Zhang & Si Shi. (2022) Understanding customers’ interactive experience in immersive performing art: a narrative transportation perspective. Nankai Business Review International.
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Rachel ZerihanRachel Zerihan. 2022. The Cultural Politics of One-to-One Performance. The Cultural Politics of One-to-One Performance
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Olivia Levet. (2021) Théâtre immersif et jeu vidéo. Appareil:23.
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Laura Gemini. (2021) Antidoto liveness. La performance dal vivo durante il Covid-19. SOCIOLOGIA DELLA COMUNICAZIONE:60, pages 104-118.
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Aylwyn Walsh. (2021) Manifesting desire and anarchy as method: The problem of Inside Pussy Riot. Punk & Post-Punk 10:1, pages 99-117.
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Gideon Raeburn, Laurissa Tokarchuk & Martin Welton. 2021. Augmented Reality, Virtual Reality, and Computer Graphics. Augmented Reality, Virtual Reality, and Computer Graphics
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James WenleyJames Wenley. 2020. Aotearoa New Zealand in the Global Theatre Marketplace. Aotearoa New Zealand in the Global Theatre Marketplace
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W. B. Worthen. 2020. Shakespeare, Technicity, Theatre. Shakespeare, Technicity, Theatre.
Carly Maga. (2020)
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Lisa WoynarskiLisa Woynarski. 2020. Ecodramaturgies. Ecodramaturgies
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Susan Bennett. 2019. Performance and the Disney Theme Park Experience. Performance and the Disney Theme Park Experience
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Sarah Jones. 2019. Augmented Reality and Virtual Reality. Augmented Reality and Virtual Reality
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James R. BallIIIIII. (2018) Eye Contact: Mesmeric Revelations in Baltimore. TDR/The Drama Review 62:4, pages 81-104.
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Benjamin Poore. 2018. Contemporary Gothic Drama. Contemporary Gothic Drama
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Tanja Beer, David Curtis & Julie Collins. 2018. Enabling Eco-Cities. Enabling Eco-Cities
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Karen Savage & Dominic SymondsKaren Savage & Dominic Symonds. 2018. Economies of Collaboration in Performance. Economies of Collaboration in Performance
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Doris Kolesch. (2017) Vom Reiz des Immersiven. Paragrana 26:2, pages 57-66.
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W. B. Worthen. 2017. The Routledge Companion to Scenography. The Routledge Companion to Scenography
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Michael Shane Boyle. (2017) Performance and Value: The Work of Theatre in Karl Marx's Critique of Political Economy. Theatre Survey 58:1, pages 3-23.
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Lourdes Orozco. 2017. Risk, Participation, and Performance Practice. Risk, Participation, and Performance Practice
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Alice O’Grady. 2017. Risk, Participation, and Performance Practice. Risk, Participation, and Performance Practice
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Siew Fang Law. (2016) Unknowing researcher’s vulnerability: Re-searching inequality on an uneven playing field. Journal of Social and Political Psychology 4:2, pages 521-536.
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Kelly Jordan. (2016) On the Border of Participation: Spectatorship and the ‘Interactive Rituals’ of Guillermo Gómez-Peña and La Pocha Nostra. Journal of Contemporary Drama in English 4:1.
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Adam Alston. (2016) Making Mistakes in Immersive Theatre: Spectatorship and Errant Immersion. Journal of Contemporary Drama in English 4:1.
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Adam AlstonAdam Alston. 2016. Beyond Immersive Theatre. Beyond Immersive Theatre
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Adam AlstonAdam Alston. 2016. Beyond Immersive Theatre. Beyond Immersive Theatre
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Adam AlstonAdam Alston. 2016. Beyond Immersive Theatre. Beyond Immersive Theatre
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Teri Howson. (2015) Zombies, time machines and brains. Thesis Eleven 131:1, pages 114-126.
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David Shearing. 2015. Theatre as Voyeurism. Theatre as Voyeurism
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Susan BennettMarlis Schweitzer. (2014) In the Window at Disney: A Lifetime of Brand Desire. TDR/The Drama Review 58:4, pages 23-31.
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