Alston, Adam (2013) Audience Participation and Neoliberal Value: Risk, Agency and Responsibility in Immersive Theatre. Performance Research, 18 (2). pp. 128-138
In this text Alston explores the links between immersive theatre and neoliberalism. Alston argues that immersive theatre is centred on ‘entrepreneurial participation’ in other words, the risk the audience is willing to take in order to participate. As such, immersive theatre promotes the neoliberal idea that individuals have agency to carve their opportunities, and have a full immersive experience, promoting the capitalist mindset of risk and value. Immersive theatre also promotes hedonistic and narcissistic desire. Narcissistic because the experience is about one’s self, and hedonistic because the act of pleasure is sought out.
Alston makes his point by drawing on research from Michael Fried, which states immersive theatre demands a 'special complicity.' The act of doing something (participating). This act of doing is what separates traditional and immersive theatre, and what you do affects the outcome of your experience. By choosing where to stand to watch a performance fragment or taking advantage of the multiple viewing perspectives available to you, the participant tailors their own experience and/or "journey".
He states the experience industry encompasses emotive inducing attractions such as theme parks and strip clubs. As affluent societies prioritise purchases of experiences over material possessions, it is this shift that is causing immersive theatre to be capitalised on. He argues that there is a problem with this, as the unique aspect of immersive theatre is its inability to be reproduced. However, with the growth of the experience economy in general immersive theatre has become relatively repeatable. This is not strictly connected to a repeatable experience moreover to a economy of mass production that demands replication.
As the market becomes saturated with immersive experiences, I feel it is up to new and upcoming artists to create reputable immersive theatre that is not susceptible to mass production and capitalism. Although the arts economy is one that has suffered tremendously over the last few years and more recently due to COVID-19 pandemic, it is essential not to be focused solely on making a profit. Integrity should not be compromised by neoliberalism. I believe work that can captivate an audience and makes them connect with wider and broader issues at hand, carries more weight than a piece of work created for a “fast buck”.
