Publication
Immersive theatre as a strategy for raising eco-awareness
| datacite.subject.fos | Ciências Sociais::Outras Ciências Sociais | pt_PT |
| dc.contributor.advisor | Hanenberg, Peter Heinrich | |
| dc.contributor.author | Wong, Hou Lam | |
| dc.date.accessioned | 2020-09-25T10:02:22Z | |
| dc.date.available | 2020-09-25T10:02:22Z | |
| dc.date.issued | 2020-07-20 | |
| dc.date.submitted | 2020 | |
| dc.description.abstract | The failure of existing efforts in tackling environmental and man-made catastrophes reiterates the need for transformative understandings about eco-issues. However, the ecoproblem is a massively and complexly distributed phenomenon, which needs to be localized for the public’s consciousness before their perceptions about it and resilience against it can be mobilized. As such, this dissertation studies how immersive theatre can be used as a transformative strategy to raise eco-awareness. Reflecting on the theories and literatures in the fields of ecocriticism, performance studies and immersive theatre, and the working practices of current immersive performances, this study develops a relational model which situates the bodies of spectators at the collapsing aesthetic, territorial and anthropocentric boundaries in the eco-discourse. It argues that based on the affective and emancipating natures of immersive theatre, the tactics of creating intimate encounters in the performance, guiding spectators to perform reciprocal agencies, and allowing a capacity for weakness and negative feelings may culminate to both enhance the immersive experience of the spectators and open up a space for eco-awareness to emerge. These immersive tactics treat the bodies of the spectators as aesthetic sites of sensory exchanges and empathetic imaginations, from which personal connections and perceptual transformations may be enabled. Addressing intercorporeality and intersubjectivity, an eco-conscious immersive theatre may then collapse the boundaries between onlookers and stakeholders, human and non-human through highlighting one’s immersiveness in both the theatre and the ecosphere. To exemplify the above, Rimini Protokoll’s World Climate Change Conference (2014) and Riverbed Theatre’s Hypnosis (2017) will be studied as the major cases of the dissertation. They will be analyzed with the guidance of knowledge from the fields of ecocriticism and immersive theatre, and concepts such as immersion, affect and emancipation | pt_PT |
| dc.identifier.tid | 202508870 | pt_PT |
| dc.identifier.uri | http://hdl.handle.net/10400.14/30980 | |
| dc.language.iso | eng | pt_PT |
| dc.subject | Immersive theatre | pt_PT |
| dc.subject | Eco-awareness | pt_PT |
| dc.subject | Intimacy | pt_PT |
| dc.subject | Theatrical agency | pt_PT |
| dc.subject | Weak theatre | pt_PT |
| dc.subject | Intercorporeality | pt_PT |
| dc.subject | Empathy | pt_PT |
| dc.subject | Affect | pt_PT |
| dc.subject | Emancipation | pt_PT |
| dc.title | Immersive theatre as a strategy for raising eco-awareness | pt_PT |
| dc.type | master thesis | |
| dspace.entity.type | Publication | |
| rcaap.rights | openAccess | pt_PT |
| rcaap.type | masterThesis | pt_PT |
| thesis.degree.name | Mestrado em Estudos de Cultura | pt_PT |
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