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Scoop.it!
Audiences have never been hungrier for experience, but these productions need a rigorous approach, says Miriam Gillinson
The Digital Rocking Chair's insight:
Great advice from a very pertinent perspective. 
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In this video interview, Flatland director Ralph Upton and producer Adrianne Roberts take Transmedia NZ's Anna Jackson on a journey through the new multidimensional and interactive theatre work.
Chris Trinidad's curator insight,
November 11, 2015 2:29 PM
This is a new idea of theatre that isn't as traditional as other theatre shows. This might be the start of many more new ideas to come for theatre. |
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![Stitching Time: Creating an Interactive Steampunk Narrative [#Transmedia] | Transmedia: Storytelling for the Digital Age | Scoop.it](https://img.scoop.it/4M8Hojca3qttH_LFiknsUzl72eJkfbmt4t8yenImKBVvK0kTmF0xjctABnaLJIm9)
Yomi Ayeni: "I’m often asked what the interactive theatrical experience Clockwork Watch is, and the answer changes with each stage of the production. The underlying objective, though, is to create a fictional Victorian universe and tell a story where the narrative is delivered through live events, graphic novels, role-play, online news sites, and a feature film, all co-authored by the audience, through their interactions with our make-believe world over the next five years" ...
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This a new age for enjoying performances. We invited the radio into our homes. We opened our door to televisions, to the internet and everything else that has come with it. But this is a reversal in the arts, where we the audience are being invited in. Theatre is no longer set in building- but like heart that defines the home, the audience will now define the performance.
How can a director produce an effective interactive theatre performance?
Why do many interactive performances fail to fulfill their purpose?