Punchdrunk’s Kabeiroi: Taking Immersive Theatre to the Streets

IF 0.4 0 THEATER
Déborah Prudhon
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Abstract

Abstract Punchdrunk is often considered the pioneer within the field of immersive theatre, which “[places] the audience at the heart of the work” (Machon 22) and abolishes the distinction between stage and auditorium to merge them into one single space. Founded by Felix Barrett in 2000, the British company is known for creating detailed theatrical worlds that inhabit the space of disused buildings in which the audience is invited to roam free. Whilst most of Punchdrunk’s productions maintain a separation between the real world and the imagined world by staying within the confines of a building, Kabeiroi (2017) opens up to the busy streets of London and immerses the participants in real life. This ambulatory theatrical exploration superimposes the world of fiction onto the geography of the city, weaving a web of complex interactions between the two. How does Kabeiroi interact with the city it pervades? To what extent does the urban space inform the performance, and, conversely, does the immediate reality impact the participants’ experience and immersive feeling? Using concepts such as performance walks (Tomlin), “host” and “ghost” (McLucas), frames (Goffman), and errant immersion (Alston), this article explores the way Kabeiroi blurs the boundaries between street and stage, participants, performers, and passersby, reality and fiction.
Punchdrunk的Kabeiroi:将沉浸式戏剧带到街头
Punchdrunk通常被认为是沉浸式戏剧领域的先驱,它“将观众置于作品的中心”(Machon 22),并废除了舞台和观众席之间的区别,将它们合并到一个单一的空间中。这家英国公司由费利克斯·巴雷特(Felix Barrett)于2000年创立,以在废弃建筑的空间中创造细致的戏剧世界而闻名,观众可以在其中自由漫步。虽然Punchdrunk的大多数作品通过停留在建筑物的范围内来保持现实世界和想象世界之间的分离,但Kabeiroi(2017)向伦敦繁忙的街道开放,并让参与者沉浸在现实生活中。这种流动的戏剧探索将虚构的世界叠加到城市的地理位置上,在两者之间编织了一个复杂的互动网络。Kabeiroi是如何与城市互动的?城市空间在多大程度上为表演提供了信息,反过来,直接的现实是否影响了参与者的体验和沉浸感?本文使用诸如表演漫步(汤姆林)、“主人”和“鬼魂”(麦克卢卡斯)、框架(戈夫曼)和错误沉浸(奥尔斯顿)等概念,探讨了Kabeiroi如何模糊街道与舞台、参与者、表演者和路人、现实与虚构之间的界限。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.80
自引率
40.00%
发文量
20
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