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Vanessa Thorpe: "Theme parks and heritage attractions join the booming new market for immersive theatre"
Are you sure you want to delete this scoop?
Great idea. I would love to go there -
In the whole world of entertainment immersive experience (even social tv and second screen may be considered a kind of immersive experience) is getting more and more important. Transmedia is taking place and creativity, good writying (and a good budget) is all you need to leverage storytelling to the next level.
Thomas McMullan: "A new era of theatre is borrowing conventions from video games, making invigorating performances in which the viewer becomes a player."
Lauren Wissot: "Online dating takes an offline twist in FutureMate, the latest transmedia extravaganza to premiere at The Brick Theater in Williamsburg, Brooklyn" ...
Yasmin Morgan-Griffiths: "In an age which is increasingly defined by audience interactivity, many shows are aiming to give their audience more choice over what they are viewing. And you’d be hard pressed to find more choices in one show than in Choose Your Own Documentary."
Frank Rose: "One of the many fascinating things about Then She Fell is the way it resonates with the digital world we live in. An entirely no-tech production, it nonetheless manages to feel utterly contemporary in a time of video games and online media." ...
Forbes calls it "theater for the video game generation" ....
Michael Gallant: "Visit the website meetverastark.com and you’ll learn about one of America’s greatest actresses, a woman referred to as a teacher, singer, lover, civil rights activist, and femme fatale. [...] The only catch? Vera Stark isn’t real."
Lynn Nottage, Pulitzer Prize-winning playwright, journeys into transmedia storytelling with the help of the Black Women Playwrights’ Group (BWPG) and Carnegie Mellon University’s Entertainment Technology Center (ETC) ...
Nice way to blur the lines between theater and short story, when both are "novelized" (Bakhtin) by digital media.
Yomi Ayeni: "I’m often asked what the interactive theatrical experience Clockwork Watch is, and the answer changes with each stage of the production. The underlying objective, though, is to create a fictional Victorian universe and tell a story where the narrative is delivered through live events, graphic novels, role-play, online news sites, and a feature film, all co-authored by the audience, through their interactions with our make-believe world over the next five years" ...
In this video interview, Flatland director Ralph Upton and producer Adrianne Roberts take Transmedia NZ's Anna Jackson on a journey through the new multidimensional and interactive theatre work.
Joe Berkowitz: "It took DreamWorks years of work and countless decisions to translate “How to Train Your Dragon” into a live experience. The result is an achievement not just in pyrotechnics, but in collaboration and brand extension" ...
Liz Shannon Miller: "Whether you spell it "theatre" or "theater," any fan of classic or contemporary theatrical works ought to check out the full-length productions available through VOD site Digital Theatre."
Chaunton: "This week, we are hopping back across the pond to visit an American production of what has proven to be one of the most enduring and successful immersive theater experiences of the new millennium, Sleep No More."
Serena Solomon: "A Lower East Side love story told through an iPhone app is at the center of a walking tour and performance art piece about to kick off next month" ...
Michael Humphrey: 'It may not be long before you hear a theater announcement, “The performance is about to begin. Please turn on all electronic devices.”'
Gordon Cox: "Sometimes a new Broadway musical makes a social media push with Twitter and Facebook and Instagram -- and sometimes it does it with a real-world, hand-delivered bottle of poison" ...
Krishna Stott: "Choose Your Own Documentary is a live performance of a documentary where the audience choose which way to take the story at numerous decision points – there are 1500 different outcomes…"
Lyn Gardner: "Did you watch the live-streaming of Howard Brenton's Drawing the Line with us? Have you been to one of the NT Live broadcasts? Will that stop you going to the theatre?"
Dominic Cavendish explains how a real-time, digital reimagining of Shakespeare's play will take place in Stratford and around the worldwide web this weekend.
Guess what I'm going to be doing this weekend?
The whole project blows my mind!
"In a ground-breaking initiative called Midsummer Night’s Dreaming, delivered in substantial part by Google’s creative division, the action will primarily be experienced at one digital remove through a dedicated website – dream40.org – which has already gone live. This site will anticipate, comment on and followShakespeare’s action – as enacted largely unseen by the RSC cast – using specially devised materials, whether it be tweets, animations or other postings, and will draw too on material supplied by the online world. In other words, it will be the buzz around the events – some of it generated by 35 ancillary characters, specially created for the occasion – that takes centrestage."
My favorite piece so far is Justin Snout's sound cloud poetry
anything that speads the work of Skakespeare must be good in my opinion.
"Transmedia storytelling is exploding across the media community. One of our new Blogging Fellows [James Carter] explores some of the implications for arts organizations."
Some great lessons for all of us ... not just arts organizations.
I love this image!
An interesting article by James Carter is a dramatist, experience designer and producer about what is storytelling and its value:
"Transmedia is the art of sharing a narrative over multiple media platforms (print, online, stage, film, social networks), where unique content is delivered through each platform. For example, Fringe, the hit television show, used transmedia to expand its storyworld and reward its biggest fans. [...]"
Audiences have never been hungrier for experience, but these productions need a rigorous approach, says Miriam Gillinson
Great advice from a very pertinent perspective.
This a new age for enjoying performances. We invited the radio into our homes. We opened our door to televisions, to the internet and everything else that has come with it. But this is a reversal in the arts, where we the audience are being invited in. Theatre is no longer set in building- but like heart that defines the home, the audience will now define the performance.
How can a director produce an effective interactive theatre performance?
Why do many interactive performances fail to fulfill their purpose?
Kevin Holmes: "Felix Mortimer is a former member of Punchdrunk who has gone on to found RETZ with Simon Ryninks, and earlier this year the company performed an experimental version of Shakespeare’s The Tempest called O Brave New World, which took place over six months and across the physical and online worlds" ...
Scott Juster: "What happens when a production company stages an interactive theater experiment? It starts to resemble a video game."
Leslie Horn: 'Come with me. I've got something to show you. A dark-haired woman clad in a long beaded dress said this to me as she whisked me away into the strange underworld of "Sleep No More."'
Teressa Iezzi: "Through Punchdrunk, Barrett has sought to create experiences that challenge audiences to physically interact with a narrative, and that push the idea of entertainment into a more primal place, where a show becomes a thing that happens to you because of decisions you make, not just something you watch passively."
Kelsey Campbell-Dollaghan: "In theater, there’s a concept called the “fourth wall.” It refers to performances that involve the audience, breaking down the invisible “wall” between performer and spectator. A new project from Pentagram goes even further, breaking down the “fifth wall” between the performer and a digital audience."
Randy Finch: "As my students will tell you, I am keenly interested in the role "theme" will play in the New World of cross platform storytelling."