Environment and Site-Specificity: Space, Place and Immersion

Abstract

This chapter considers immersive audience experience in relation to the theatrical environment, arguing that theorising “immersive theatre” and “immersive experience” as separate but interrelated concepts allows for a more nuanced discussion of how Punchdrunk’s use of space affects audiences. After outlining current approaches to site-specificity and the host/ghost relationship, the chapter offers a comparative analysis of Punchdrunk’s The Borough (2013) and The Drowned Man (2013–2014). Through their relationship to immersive experience and environment, Biggin demonstrates how both productions manipulated space and site together with structure to achieve immersive effects: The Drowned Man’s structure, more typical for Punchdrunk, of audiences exploring a building; and The Borough’s more unusual form of guided outdoor audiowalk. The chapter anticipates further exploration of the overlap between immersive forms and pervasive gaming.

Punchdrunk’s Barrett admits that he’s not a fan of the term ““immersive theatre”. “We would never use it ourselves, although I’m delighted if our audiences are totally immersed,” he says. “We used to call it ‘site sympathetic’—because it’s all about the building.” (Masters 2013: n.p.)