Mari Thynne, PhD candidate and experimental theatre practitioner from HighWire, University of Lancaster will share insights into a recent study of 11 immersive theatre and pervasive media performance practitioners. The aim is to share the experiences of the theatre makers that integrate digital technology and live performance through a ‘sense-making’ and 'design thinking' theoretical lens. Study participants, Rosie Poebright (Splash & Ripple) and Rik Lander (Freelance Writer and Creative Director) and Sharon Clark (The Raucous Collective) will joined Mari in a forum discussion on thoughts around the major findings.

1. Stories from the Makers:
Creating immersive performance

2. Contents
1. insights into recent study of 11 immersive theatre
and pervasive media performance practitioners
2. share experiences of some of the theatre makers
who integrate digital technology and live
performance through a scholarly ‘sense-making’
lens
3. question time
4. forum discussion on the main findings

3. Complex and individual
No clear definition to date

4. Research Design
Theoretical consideration
1.
Sensemaking properties (Weick 1995, 2001, 2005)
Identity; Retrospection; enacting environments; Social; Ongoing; Cues, Plausibility
2. Theatricality within Design Thinking (Pine and Gilmore 1999)
‘we do not mean to present the work of design as theatre, it is not a metaphor but a model, a focus
on the dramatic nature of design’ (pg:157)
Triangulation of data collection:
• Interviews, face to face and via Skype – same 15 set questions
• Desk research – online data
• Reflections of researcher
Analysis
• Interviews made into stage scripts to distance from researcher perspective - developing
‘theatricality’ notion of Pine and Gilmore
• Sensemaking sought in scripts, online text and researcher reflections – including
verbs, actions, evidence of making of sense

6. Data Set

7. Horses
Theatre allegory interweaves verbatim study responses into short seven-part series:
http://www.youtube.com/channel/UCExwt6EIz2DvSvQiRw6EKag/videos
The aim: communicate final perceptions of the researcher
in a distinct subjective and surreal art form.

8. Main Findings
1.
Innovation developing out of tensions interdisciplinary production team from different creative
backgrounds
2.
A growing number of hybrid identities –
production team confirmed many have second jobs i.e. in
advertising, design or academia
3.
Funding and budgeting compromise used owing to financial restrictions even though
‘aesthetic’ vital to create a ‘real’ experience for audience

9. • Limitations of the study
Longitude study and/or more practitioners offer a stronger case
Alternatively, a deeper study i.e. ethnography or in-depth case study
• Recommendations for further study
There is little theoretical work on this emerging genre. My PhD aims to explore
further the three main findings via an exploratory case-study of before, during
and after, production of The Raucous Collective’s ‘The Stick House’ to answer the
research question:
‘How, and to what extent, do identity power and values
effect the immersive theatre production process?

10. Finding 3: Funding and Budgeting
New economic models needed?
What are your thoughts?

11. Forum discussion:
Sharon Clark - The Raucous Collective
Rik Lander - Freelance Writer & Creative Director
Rosie Poebright - Splash & Ripple
Mari Thynne - PhD Researcher & Freelance
Experimental Theatre Maker