Knocking the door of Neverland

In recent years, immersive/site-specific theatre gains incredible popularity. Productions as such offer fresh viewing experiences and high degrees of participation for the audience. To a certain degree, these performances also have managed attracting and developing new audience, have even created buzz on online forums, effectively closing the gap between the production and the audience, going beyond the temporal and spatial limit.

Immersive theatre normally chooses unconventional theatres. It could be a place that is simply incredible: hotel, abandoned factory and as such. Similarly, if a space is to be specifically manipulated according to the plot, it is then an environmental theatre. In this issue of ART.ZIP, we bring to you a review of the popular The Drowned Man: A Hollywood Fable, made recently by the Punchdrunk, powerful The Architects made a few years ago by the cutting-edge Shunt, and even theatre productions performed on a rink. As theatre walks out of its comfort zone, it meets many exciting possibilities. This brings the game to whole another magical level.

過去的幾年中,在倫敦的舞臺上體驗式戲劇(Immersive/site-specific theatre)非常熱門。這些作品為參與的觀眾們創造了全新的觀演體驗和極高的參與性。在某種程度上,很多非常規的戲劇觀眾都被吸引到了演出現場,甚至在網絡平臺上也同時出現了巨大的論壇,將觀眾們更緊密地聯系了起來,跨越了時間和空間的限制。

體驗式戲劇選擇在一個特殊的非傳統劇場的環境中進行。這個空間可以是任何一個不可思議的場地。比如賓館、廢棄工廠等等。相似的,如果是特別將環境根據劇情需要模仿成為一個特有空間,則被稱為環境劇場。 在本期的內容中,眩暈劇團(Punchdrunk)帶來了剛剛隆重落幕的熱門作品《淹沒者(Drowned Man)》,還有另辟蹊徑的另一個領先劇團尚特(shunt)幾年前的力作《建築師(The Architects)》,甚至還有通過“冰舞”來展示的戲劇作品。戲劇在走出劇場的同時,在藝術的道路上也創造了更多的可能。這也讓戲劇的世界綻放了魔幻的層次。


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