Theatre Design & Technology - Winter 2011 - 56

the development of the "Mediterranean Harbor" and "New York" areas. Describing his work in
immersive terms, Michael Devine says; "When you enter the environment you are in a world totally
separated from the mass and heave of daily life in Tokyo. Every detail is designed to put the participant in a place not of their world."
Although the "Mysterious Island" section of the park, based on the writings of Jules Verne,
wasn't creatively directed by Devine, he feels it is an excellent example of immersive design. The attraction takes visitors into the "depths of the earth where the only escape route lies through an active
volcano." "Our collective intent," says Devine, "was to wipe away the visitor's sense of the everyday
and plunge them into worlds never imagined. Sure, we couldn't isolate the guests from one another
for that ultimate immersive experience but we did create an environment where the visitors joined
in the 'willing suspension of disbelief' and could experience the environments individually or collectively."
Another example of the actor as one who takes action is found in architecture, where each
occupant chooses which door to open, which hallway to travel, and how long the remain in the
foyer. The clearest example of the actor as both active agent and performer is found in multi-player video games. This is at the root of Don Marinelli's observation that there has been a "democratization of acting" due to today's entertainment technology. The aesthetic pleasures once only
available to the stage or screen actor are now made available to the masses; and not just available
but downright convenient. In real and virtual environments which utilize this mode of immersion,
the players occupying the environment are affected by each other's actions and in both these
examples the occupants retain complete freedom to come and go as suits them. This requires the
narrative to be immediately accessible and relatively open; which is, at least in part, why this mode
of immersion can be problematic for the carefully scripted narratives in theatre and film.
The impact of immersion on observers is a little easier to understand in theatrical presentations. It keys off of the idea of total experience. The observer is made to feel as much a part of the
environment as possible and this feeling is supported by the full range of sensory perception: surround sound, vibrating seats, wrap-around screens, and 3D glasses all contribute to an immersive
experience. The environment is designed in ways that make passivity impossible. The successful
immersive environment will demand a physical and emotional response. The phrase losing oneself is often discussed. However, at its best, immersive design is much more than escapist entertainment. There is power in engagement. In the
tradition of theatre, audiences are meant to lose
themselves in the story but remain passive in
the environment. Sudden emotional outbursts
by individual audience members are generally
discouraged because they can be distracting to
the rest of the audience and to the actors. However, immersive design claims that it is possible
and desirable for theatre to provide an opportunity for the participants to become engaged
in both the story and the environment.

...first, concern for the experience of the
audience is brought to the forefront. Second,
the story is not the end itself but a means by
which the experience is rendered meaningful.
The Immersive Process

Immersive design as a process resists a simplistic definition even more vigorously than immersive design as a product. Any attempted definition must include consideration for how the
objective of the process is framed as well as considering the specific tools and activities by
which the objective is pursued. In many cases, especially for traditional entertainment forms,
ventures into the immersive process are driven by necessity. When an attempt is made to create
something far enough outside the bounds of the traditional it requires a departure from traditional practice. Such was certainly the case for a recent project at MIT.
The title of the project is Death and the Powers; a new opera by Tod Machover, directed
by Diane Paulus, with production design by Alex McDowell. The American Repertory Theatre,
in collaboration with the MIT Media Lab, premièred this unique piece in Monte Carlo, Monaco,
on 24 September 2010. "The conceit of the piece," says McDowell, "is that the robot chorus
which bookends the opera in prologue and epilogue have been tasked with creating the setting
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theatre design

& technology

w i n t e r 2011

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2011