Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?
Artist/Author: Morgan Quaintance | Reference: A0682 | Type: Article
Pandering to the real or imagined demands of private finance distorts the art world, silencing dissent and stifling politically or socially engaged art in favour of consensus and what is known in the trade as ‘investment grade art’.