Abstract
Although common within media and cultural studies, fan studies approaches are more rarely applied to theatre. Drawing on the author’s exclusive access to Punchdrunk’s archives, this chapter considers audience communication during Punchdrunk’s Faust (2006) and The Masque of the Red Death (2007), and the development of international Punchdrunk fan communities around Sleep No More (2011–) and The Drowned Man (2013–2014), to argue that audience participation or fan activity is itself a form of interactivity with immersive theatre. Biggin identifies themes and vocabularies across Punchdrunk fan discourse, proposing that fan activity includes the active production of further texts. The chapter concludes that fan interactivity is a means of claiming ownership over immersive experience and expressing relationships with Punchdrunk productions beyond the moment of theatrical encounter.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Abercrombie, Nicholas, and Brian Longhurst. 1998. Audiences: A Sociological Theory of Performance and Imagination. London: Sage.
Alston, Adam. 2016. Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation. London: Palgrave Macmillan.
Barrett, Felix. (2014). Felix Barrett, Artistic Director, Punchdrunk. Speaking at Remix Summit: Experience Economy: Creating Extraordinary Moments and Stories that Get People Talking. https://www.youtube.com/watch?v=xCRcuHiDEYs. Accessed Mar 2014.
Barker, Martin, and Ernest Mathijis. 2007. Watching the Lord of the Rings: Tolkien’s World Audiences. New York: Peter Lang.
Clapp, Susannah. 2013. The Drowned Man: A Hollywood Fable; The Machine; The Masque of Anarchy—Review. Guardian, Sunday 21 July.
Duffett, Mark. 2013. Understanding Fandom: An Introduction to the Study of Media Fan Cultures. New York: Bloomsbury.
Freshwater, Helen. 2009. Theatre & Audience. Basingstoke: Palgrave Macmillan.
Gordon, Colette. 2013. Touching the Spectator: Intimacy, Immersion and the Theater of the Velvet Rope 2013. Accessed November: Borrowers and Lenders.
Hills, Matthew. 2003. Fan Cultures. London: Routledge.
Jakob-Hoff, Tristan. 2014. At the gates of Temple Studios: Where Gaming and Theatre Collide. Eurogamer, 2 May 2014 235. Accessed May 2014.
Jenkins, Henry. 1992/2012. Textual Poachers: Television Fans and Participatory Culture. London: Routledge.
Lewis, Lisa A. (ed.). 2002. The Adoring Audience: Fan Culture and Popular Media. London: Routledge.
Machon, Josephine. 2013. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. London: Palgrave Macmillan.
Morgenstern, Erin. 2011. The Night Circus. London: Vintage.
Nield, Sophie. 2008. The Rise of the Character Named Spectator. Contemporary Theatre Review 18 (4): 531–544.
Popat, Sita. 2006. Invisible Connections: Dance, Choreography and Internet Communities. London: Routledge.
Punchdrunk. 2014. About. https://www.punchdrunk.org.uk/about/. Accessed July 2014.
Reason, Matthew. 2010. The Young Audience: Exploring and Enhancing Children’s Experiences of Theatre. Stoke on Trent: Trentham Books.
Silvestre, Agnes. 2012. Punchdrunk and the Politics of Spectatorship. Culturebot. Accessed July 2013.
White, Gareth. 2009. Odd, Anonymised Needs: Punchdrunk’s Masked Spectator. In Modes of Spectating, ed. Oddey and White, 219–229. Bristol: Intellect Books.
White, Gareth. 2013. Audience Participation in Theatre: Aesthetics of the Invitation. London: Palgrave Macmillan.
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
Copyright information
© 2017 The Author(s)
About this chapter
Cite this chapter
Biggin, R. (2017). Fan Interactivity: Communicating Immersive Experience. In: Immersive Theatre and Audience Experience. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-62039-8_4
Download citation
DOI: https://doi.org/10.1007/978-3-319-62039-8_4
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-62038-1
Online ISBN: 978-3-319-62039-8
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)