‘What Country, Friends, Is This?’ Using Immersive Theatre Practice to Inform the Design of Audience Experience in Estate 360°

  • Scott PalmerEmail author
Conference paper
Part of the Lecture Notes in Computer Science book series (LNCS, volume 11318)


This paper focuses on issues arising from the making of an experimental interactive 360-degree video that emerged from a relational ‘immersive’ site-specific theatre project for a public audience that was staged in historic grounds in South Florida, USA in April 2017. This work was undertaken with academics from University of Miami, Kim Grinfeder and Stephen Di Benedetto. The specific nature of the performance event, the filming of aspects of this experience and the post-production processes each raise significant questions relating to the development of methods of ‘interactive’ digital storytelling for ‘immersive’ audience experience. The role of theatre practice and performance design in developing these mediated experiences seems to be an important element that has largely been ignored in thinking about how digital immersive experiences might be created.

The video Estate 360° was first published on-line in January 2018 and is freely available to download:


360-degree video Immersive theatre Performance Design for audience experience Interactive film Scenography 


  1. ESTATE – site-specific, relational performance 19–22 April 2017. Accessed 20 Sept 2018
  2. Estate 360° interactive video (2018) Homepage. Accessed 20 Sept 2018
  3. Palmer, S.: A place to play - experimentation and interactions between technology and performance. In: Oddey, A., White, C. (eds.) The Potentials of Spaces: The Theory and Practice of Scenography and Performance, pp. 105–118. Intellect, Bristol (2006)Google Scholar
  4. Palmer, S., Popat, S.: Dancing in the Streets: the sensuous manifold as a concept for designing experience. Int. J. Performance Art and Digital Media 2(3), 297–314 (2007)., Accessed 20 Sept 2018CrossRefGoogle Scholar
  5. Bayliss, A., Palmer, S., Hales, D., Sheridan, J.G.: (Re)searching through play: play as a framework and methodology for collaborative design processes. Int. J. Arts Technol. 2.1–2:521 (2009). Accessed 20 Sept 2018CrossRefGoogle Scholar
  6. Aronson, A.: Foreword. In: McKinney, Palmer (eds.) Scenography Expanded: an introduction to Contemporary Performance Design, London, Bloomsbury Methuen, pp. xiii–xvi (2017)Google Scholar
  7. Alston, A.: Beyond Immersive Theatre: Aesthetics. Politics and Productive Participation. Palgrave Macmillan, London (2016)CrossRefGoogle Scholar
  8. Myst. (designed by Miller, R & Miller, R), Brøderbund (1993)Google Scholar
  9. Klich, R.E.: Playing a punchdrunk game: immersive theatre and videogames. In: Frieze, J. (ed.) Framing Immersive Theatre: The Politics and Pragmatics of Participatory Performance, pp. 221–228. Palgrave Macmillan, Basingstoke (2015)Google Scholar
  10. Biggin, R.: Immersive Theatre and Audience Experience: Space. Game and Story in the Work of Punchdrunk, Palgrave Macmillan, London (2017)CrossRefGoogle Scholar
  11. Pope, V., Dawes, R., Schweiger, F., Sheikh, A.: The geometry of storytelling: theatrical use of space for 360-degree videos and virtual reality. In: Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems Denver, Colorado, USA, 06–11 May 2017, pp. 4468–4478. ACM, New York (2017)Google Scholar
  12. Machon, J.: Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. Palgrave Macmillan, Basingstoke (2013)CrossRefGoogle Scholar
  13. White, G.: Audience Participation in Theatre: Aesthetics of the Invitation. Palgrave Macmillan, Basingstoke (2013)Google Scholar
  14. Ingold, T.: The Atmosphere. Chiasmi International 14(2012), 75–87 (2012). Scholar
  15. Andrews, A.: Private e-mail correspondence with author 3/7/2018Google Scholar
  16. McKinney, J.: Seeing Scenography: scopic regimes and the body of the spectator. In: Aronson, A. (ed.) The Routledge Companion to Scenography, pp. 102–118. Routledge, London (2018)Google Scholar
  17. Marks, L.U.: The Skin of Film: Intercultural Cinema, Embodiment, and the Senses. Duke University Press, Durham (2000)Google Scholar
  18. Marks, L.U.: Touch: Sensuous Theory and Multisensory Media. University of Minnesota Press, Minneapolis (2002)Google Scholar

Copyright information

© Springer Nature Switzerland AG 2018

Authors and Affiliations

  1. 1.University of LeedsLeedsUK

Personalised recommendations