Titlebook: Beyond Immersive Theatre; Aesthetics, Politics Adam Alston Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 audience particip

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Mosaic

Frustrating Theatre: Shunt in the Experience Economy,enge a particular casting of fun and pleasure in the experience economy and undermine the derivation of profit and value from the seductions of neoliberalism by remaining sensitive to the politics of immersive theatre aesthetics, and especially the politics of productive participation.

BLUSH

,Theatre in the Marketplace: Immaterial Production in Theatre Delicatessen’s Theatre Souk, theatre makers, and redistribute the appearance of immaterial production to audience participants. He argues that the Souks do not elude the material networks of neoliberalism, but they nonetheless explore alternatives to the aesthetic and political logics of the neoliberal marketplace.

Facet-Joints

limber

Exchange-Rate Management and Policy case study Ray Lee’s . (2011), a headphone performance for an audience of one to be experienced whilst shut inside a very small and very cold box. Through a critical analysis of . informed by affect studies, he identifies the production and experience of affect as important aesthetic features of an

Narcissist

https://doi.org/10.1057/9780230372290lston asks: what happens to the productivity of spectatorship in total darkness? He proposes that the inherent creativity and productivity of spectators is exacerbated when faced with the risky prospect of participation. Drawing on risk research in the social sciences and its influence on Third Way

debase

Explaining Global Macroeconomic Eventsvalues inform the company’s influential brand of immersive theatre aesthetics. He addresses the immersion and productivity of audiences in the company’s corporate partnerships and the implicit politics of Punchdrunk’s free-roaming immersive theatre by critically analysing what he calls ‘entrepreneur

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