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dc.contributor.authorMaples, H-
dc.identifier.citationJournal of Contemporary Drama in English, 4(1), (2016)en_US
dc.description.abstractThe cultural industries often privilege the use of sight and sound as our main areas of experience. This is especially the case in theatre criticism; but what of taste, smell and touch? Punchdrunk’s manipulation of sensorial experience allows their immersive performance to become both an enticing and destabilizing theatrical arena for the audience. The performance of intimacy constructed through the use of nostalgia triggering aromas, invitations to explore the set and performers bodies through touch, and the inclusion of one-on-one encounters between performers and audience members, all allow the actor/spectator to be seduced by the “story-world” of The Drowned Man. With the hyper-reality achieved through the film noir soundscape and the chaotic dance theatre sequences created by the performers, the spectator can delve into a fantasy world of menace and eroticism. This article examines the role of the spectator as erotic voyeur in Punchdrunk’s The Drowned Man. Through an examination of the company’s use of interactive, sensorial experience where audience members are invited to touch, inhabit and investigate the world around them, Punchdrunk invite the audience to become a part of the world and yet remain separate from it, reinforcing the erotically charged voyeuristic realm of the production.en_US
dc.publisherDe Gruyter Moutonen_US
dc.subjectImmersive theatreen_US
dc.subjectThe art of seductionen_US
dc.subjectThe experience economyen_US
dc.titleThe Erotic Voyeur: Sensorial engagement in Punchdrunk’s The Drowned Manen_US
dc.relation.isPartOfJournal of Contemporary Drama in English-
Appears in Collections:Dept of Arts and Humanities Research Papers

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