ノダ　マナブ   Noda Manabu   野田　学    所属   明治大学  文学部    職種   専任教授
発表年月日	2017/05/11
発表テーマ	Immersion as the Inscription of Theatre-Maker's Reading: Complicite, The Encounter (2015)
会議名	IATC/AICT Conference (as a part of NOVÁ DRÁMA/NEW DRAMA 2017, Bratislava) "Contemporary Drama and Performative Space: From Playwriting to Immersive Theatre," 11-12 May 2017
主催者	Slovak Centre of AICT/IATC
学会区分	国際学会
発表形式	口頭（招待・特別）
単独共同区分	単独
招待講演	招待講演
開催地名	Lecture Hall, University Library, Bratislava, Slovakia
概要	Immersive theatre today aims to bring the audience into the show by invading and disrupting the audience's subjective closure. Often using innovative technology, it radically reconstructs the interface between theatre and audience. In some cases, however, the audience's immersion into the piece is not the sole objective. For instance, it is possible that immersion is being called for so that the audience can share in the artist's problematic interface with the original text. In such a case, the artist's relationship with the original text -- and the narrative it contains -- will be inscribed in the way the show is made immersive. The question, therefore, concerns not the text/performance opposition; it concerns how theatre can weave its own mode of textuality. My presentation attempts to answer this question by examining Complicite's The Encounter (premiered 2015 at Edinburgh International Festival, directed and performed by Simon McBurney). Using binaural technology and headsets for the audience, the show is designed to develop inside the mind of each spectator. The text the show is based on -- Petru Popescu's Amazon Beaming (1991) -- recounts a National Geographic photographer Loren McIntyre's encounter with an uncontacted tribe in the Amazon. In the show, however, what is also foregrounded is McBurney's struggle with the text, overlapping with the problematic nature of the two interfaces in the original text: the one between the author and McIntyre, and the other between McIntyre and the uncontacted people, especially their chieftain who invades the photographer's subjectivity by "beaming," or telepathic communication.