Immersion vs dissonance:
UK site-specific theatre practice and discourse
14th November @ 5.00pm
Site specific practice and discourse in the UK has increasingly foregrounded notions of immersion, site sympathy, authenticity and depth of experience. At the same time, works by companies such as Punchdrunk, Shunt and dreamthinkspeak are regarded by some critics as lacking political or social aspirations which were central to the rise of site specific forms of theatre in the 60s and 70s (Gareth White, On Immersive Theatre, Theatre Research International Vol 37 No 3, September 2012).
My research examines site/text correspondences, looking to explore a range of possible relationships, from authenticating, immersive strategies to practices of dissonance and disruption.
This presentation will offer a perspective on my current work and also invite contributions to the discussion through considerations of multiple meanings of site, and strategies of practice interventions from other disciplines.
Rebecca is a London-based theatre director; in 2001 she co-founded site specific theatre company angels in the architecture, directing productions in the Roundhouse undercroft, in the disused Aldwych tube station on the Strand, on the archeological site of the Rose theatre in Bankside, and in the House of St Barnabas, a women’s refuge in the heart of Soho. Most recently she directed Marlowe’s “Dido, Queen of Carthage” at Kensington Palace. Much of her work centres on little known texts, and working with site as a generative element of creative production. Recent publications: Rebecca has co-authored a chapter on site specific practice in the recently published “Performing Early Modern Drama Today”, ed K Prince & P. Aebischer, Cambridge University Press 2012.