浸入式剧场:以《不再入眠》为例

Immersive Theatre:Space,Dynamic and Participation

《不再入眠》是近年纽约实验剧场最突兀的一道风景,原计划五周的演出持续近三年依然热潮不退,成为一个尚未有先例的演出"事件"。制作方"头晕眼花"剧团用来命名演出特色的"浸入式剧场"也成为一个炙手可热的术语,甚至是一种横空出世的演出形式。环绕《不再入眠》和"浸入式剧场",发生了很多争议,本文以《不再入眠》为例,探讨浸入式剧场的空间、动态和观众的参与。在某种程度上说,浸入式剧场是"特定地点"表演和环境戏剧适时的发展,是实验戏剧的退守,也是戏剧向整体演出"浸入"的回归,并试图开拓剧场应用互联网技术的可能空间。

Sleep No More （SNM）, a remarkable scence of current New York experimental theatre, was originally scheduled to run for five weeks and extended again and again for nearly three years. It even has become an unprecedented event. Immersive theatre, the term which the producer, Punchdrunk, used to summarize the feature of his company＇ s performance, also came into the public eye and was regarded as an unpredicted performance style. Controversies arose around SNM and Immersive Theatre. With SNM as an experiment, the thesis explores the space, dynamic performance and the audiences＇ participation of the Immersive Theatre. To a certain extent, Immersive Theatre is the development of ＂site-specific＂ performance and Enviromental Theatre, the retreat of Experimental Theatre, the ＂immersive＂ return of the total theatre and the trial of using interuet technologies in the theatre.