Unspoken Agreement Between Actors And Audience

In Britain, Richard Gresham, a long-time spectator, has launched a campaign to improve public behaviour. Over the decades of shows and shows, I have observed the behaviour of the audience in all its splendor and horror. Those who, through years of practice, understand how problematic the term immersive can be must take responsibility for taking care of responsible and rigorous interpreters and practitioners in order to promote excellent artistic practice, especially in interactive projects. Because if we don`t, no one else will. We must be more than models of ethical and responsible practice. As practitioners, we need to share our methods. We should make it clear to the public, to funders, to festivals, and especially to artists who work in this kind of work, how much time, cost and complexity of a process of creating extraordinary experiences for active audiences, especially when the public is invited to interact. What we consider to be immersive theatre today is influenced by early productions that have had tremendous success, both among the public and among critics. However, these productions have not been praised to the point of being immersive in themselves. Instead, their audience`s level of experience was a direct result of how they were invited to participate and why they were invited. Immersive experiences have become almost as ubiquitous in the UK as coffee shops with Wi-Fi or Craft Beer. This trend was born out of the early work of a handful of theatre companies a decade ago, and the majority of the creators and animators of this work now come from the performing arts industry. What`s the problem? Traditional actor training, which remains the bulk of the training provided to formal training actors in the UK, does not give actors the awareness of a live audience that might be invited to participate.

The same goes for the existing training of directors, choreographers and writers who want to develop new works to immerse the public. Could the courses of actors, authors and directors take a break from the skills of game design, digital interfaces, conflict resolution? The way theatre creates importance is both simple and very complex.