The Hyper Architecture of Desire 4.0+ M. Yagmur Gur ir. Jochem Groenland prof.dr.ir. Pieter van Wesemael dr.ir. Husnu Yegenoglu
Eindhoven University of Technology Faculty of the Built Environment Architecture 45 01-09-2022
a Perspective on the Adaptability of Immersive Theatre Narratives
First of all, I want to express my gratitude to my supervisors Husnu Yegenoglu and Jochem Groenland who were with me throughout the graduation project. Although their contributions to my thesis are invaluable, their approaches during the whole process gave me an experience that I will remember and use for the rest of my life. Husnu Yegenoglu taught me that it is necessary to look at situations and facts from multiple pers pectives and that the knowledge gained should always be questioned. Even though it often may present a new challenge...
Jochem Groenland encouraged me to take initiative throughout the design process, reminding me that an architect should always be capable of overcoming challenges and should continue without giving up. Without them, this thesis would not be complete. I would also like to thank Pieter van Wesemael for his valuable and to-the-point feedback without ever being discouraging throughout our meetings.
I would also like to thank my friends Ece Burcu Guloglu and Ayse nur Senel, who have always been with me throughout this process with our long phone conversations, even though we are in diffe rent countries. Additionally, I would like to thank my friends in the graduation group for their contributions to my thesis, and espe cially for the moral support they provided before the deadlines.
Last but not least, I want to express my gratitude to my family for always being with me and supporting me whenever they could. I am extremely fortunate to have them, and I know that I owe them for enabling me to write this thesis in this position right now.
Overall, the process was challenging, as can be understood, but it was also very instructive for me and expanded my visi on of being an architect. In the end, I finished my thesis and enjoyed my work. I hope everyone who supported me and stood by me in this process will share this success with me.
The core objective of this thesis is to propose a settled design for the shifting narrative features of immersive theatre in the con temporary period. Different from conventional theatre, immersive theatre is specialized to create a fictional illusion by elevating the senses of attendees within the experience of narrative in the physical space where the hierarchical difference between the spectator and performer disappears. Findings reveal that the use of virtual reality, augmented reality, and mixed reality is still limited at present in immersive theatrical productions and plays. Building on this, the position is taken towards physical design in which the spectator en gages with the narrative by exploring the scenography. The motiva tion to investigate the position of the public and its contribution to the theatrical narrative, a central and prominent location in every day life was chosen to accommodate the design. Thereafter, the common features of narratives: interaction level, navigation, colla boration, observation, and conversation, are hypothesized to be a basis for the design of narrative spaces. Later on, the design is tes ted with multiple immersive productions based on the parameters. Hereby, an architectural design reveals the strengths and weaknes ses for the adaptation of narratives experimentally and is regarded as one of the approaches of dealing with shifting narrative features.
Research Part I: Theatre
Elements of Theatre Performance, the Performer, and the Spectator Scenography Mise-en-scéne Theatre Case Studies Taipei Performing Arts Center Théâtre de l’Espace Conclusion
Research Part II: Immersive Theatre
Elements of Immersive Theatre Performance, the Performer and the Spectator Scenography Mise-en-scéne Conclusion
Immersive Theatre Plays The Drowned Man Then She Fell Sleep No More Conclusion
Research Part III: Situation
14 18 21 24 25 27 28 28 31 34 39 40 41 42 51 56 58 58 64 68 73 75
Design Part I: Translation of the Research Scenography and Landscape Functions within Landscape
Defined Elements of Landscape based on Parameters Materials
Design Part II: Integration of Plays into the Design
The Drowned Man Experiencing Drowned Man Then She Fell Experiencing Then She Fell Sleep No More Experiencing Sleep No More
Conclusion Bibliography
85 86 89 91 127 129 130 139 154 159 172 179 192 195
The “Hyper Architecture of Desire 4.0+” graduation studio was con ducted by the Department of Architecture, Architectural Urban Design and Engineering as part of the Master of Architecture program at Eindhoven Technical University. With the growing integration of technological advancements in our lives, the studio is investigating the effects of the novel and rapidly evolving technologies on the disciplines of architecture and urbanism. Technological advancements are not only starting to replace activities that are normally carried out analogously but also with reality technologies such as Virtual Re ality, Augmented Reality and Mixed Reality, understanding of space takes on a new meaning and a new range of possibilities opens up.
Theatre, as one of the most deep-rooted traditions of humanity and regarded as a performance art form today, is one of the cultural activities that is affected by the possibilities created by the use of technological advancements and is starting to change. In the last decade, applications of computer technologies have star ted to play an increasing role in theatre culture and new genres have started to emerge (Dixon & Smith, 2015). Immersive theatre is one of the genres that gained popularity with the experimen tal use of immersive technologies although it’s emergence dates back to the 19th century. However, as understood from its date of origin, immersive theatre does not only focus on the use of te chnological advancements but it also highlights people’s ongoing desire to exist physically and the instinct to be stimulated acti vely despite the transition from physical to digital world (Machon, 2017). Therefore, besides immersive technologies as a form of di gital alterations on space, physical spaces and sensual stimulants remain at the centre of immersive theatre as essential features.
Thus, although technologies are implemented and tested to support the narrative, the primary focus of immersive theatre is to increase and enhance the interaction of the spectator with the play and the performers by appealing to their senses, making the spectator an active participant of the play. Thereby, there is no longer a stage that is reserved for the performers, but rather a space that should be suitable for the characteristics of the play and the space should be able to change accordingly. In this con text, this thesis seeks an answer to the question of how a design can be made such that it can change according to immersive the atre plays that have different spatial requirements and discusses whether it is more important to integrate technology to the de sign or physical experience should be dominant instead of digital.
Hereafter, this thesis proposes a settled design for various shifting narrative features immersive theatre in the contempo rary period as its main objective. By means of literature rese arch, several case studies and spatial analysis the study in this thesis was conducted and interpretations of research results were compiled to discuss and answer the main research question.
In this regard, this research starts by analysing traditional theatre and deduces the main elements that are essential for any theatre genre. Additionally, this section investigates how theatres are cons tructed spatially through case studies. Subsequently, immersive theatre is analysed to investigate how the essential elements of tra ditional theatre find place in immersive theatre along with a brief discussion of reality technologies that can be used in immersive
theatre. Then, three immersive theatre productions are analysed as case studies to understand how different plays are spatially organized in different venues. According to the research and case study findings, the last part of this thesis highlights the land selection and land selection features for the new theatre design. With this founda tion built in the preceding chapters, an exploration and analysis of the architectural consequences is presented in the last two chapters.
This thesis aims to present an answer to the question of how architectural design can adapt itself to changing narratives of immersive theatre experiences in the contemporary period. To answer this question, an iterative research process was adopted.
To comprehend the fundamental elements that compose the theatrical experience and how they serve immersive theatre experien ces, the literature research starts with conventional theatre. Thus, in the literature study, within the scope of this thesis, the most significant elements are investigated within conventional theatre. Furthermore, case studies were done to analyze and comprehend the spatial organization of theatres.
Following up on this idea, the position of the aforementioned elements in immersive theatre is searched in the literature. Additional ly, three immersive theatre productions are studied as case studies. Based on the findings, design research is conducted experimentally through spatial models and drawings during the process of archi tectural research to reveal which kind of spatial organization can be relevant for this kind of theatre experience. Thus, referring to the findings of this process, common points of the narratives and parameters are defined to create a framework for the architectural design.
Based on the parameters and the research done, an interpretive spatial organization is built. Later on, three immersive theatre pro ductions, which are examined as case studies, are used to test and reveal the strengths and weaknesses of the architectural design.
In order to understand the features that distinguish immersive the atre from conventional theatre, my research first focuses on what the understanding of conventional theatre is. However, since theat re is a long-established tradition dating back to the first centuries, it contains a vast number of variables within its characteristics. Due to its complexity, details that are not directly relevant for the objective of this thesis are not discussed and only the most relevant points selected for investigation.
In this context, the first part of the thesis eaxmines how the theatre is defined today and the essential elements that bring it into being. While the primary elements are the spectator and the performer, as well as their relationship, scenography and what it means in the atre is the second essential element in this investigation, including the concept of mise-en-scéne.
Finally, the idea of designing a settled design for immersive theatre created the need to research the design of conventional theatres. Thus, this research presents two theatre case studies, although I have reviewed many case studies on this subject during my rese arch. The first of these is the Taipei Performing Arts Center which intrigued me to understand the design and functioning of contem porary theatre and the relationship of the building with its location and the public. Secondly, Théâtre de l’Espace was a useful examp le for my research, which is more experimental and dates back to early 1900s, examining the interpretation of the auditorium space which revealed new relations between the performer and the spec tator as well as the relation of the spectators with each other.
To begin with, the word theatre originates from the Greek word “theaomai” which means “to see”, and the act of theatre can add ress the ear, the eye, or both, which is emphasized by the synonimity of the phrases spectator¹ and audience² (Chaillet et al., 2020).
In the contemporary age, theatre is defined as an art form, being mostly collaborative in which the action is meticulously organized to produce a unified sense of drama that focuses almost entirely on live performances where there is a live encounter between two troupes, performer and spectator (Chaillet et al., 2020). Thus, alt hough the art of theatre is mostly script-based, it is considered a performance art, not a literary art, since it is live and includes the interaction of two groups. In a sense, the literary work is brought to life by the performance itself.
Therefore, the strongest effects of this art on the spectator are mostly based on the performance of the performer, the physical environment in which the play is experienced and the bond estab lished between the theatrical play, the performer, and the spec tator. In this context, the major elements that make up theatrical work will be examined in upcoming parts of this thesis.
¹The word derives from words meaning “to view” (Chaillet et al., 2020) ²The word derives from words meaning “to hear” (Chaillet et al., 2020)
To begin with, one of the core elements of theatrical work can be considered performance. In theatre, all performances, whether solo or in groups are seen as actions (Davies, 2011). However, while performances are clearly actions, not all actions can be considered performances, which can be explained with the argument “As actions, performances involve behavior that falls under at least one description specifying a purpose governing that behavior and, implicitly or explicitly, a result at which it aims.” (Davies, 2011, p.5).
Then, performance involves a purpose within its characteristics. However, performances are not just actions aimed at achieving a result, in principle, they are also open to public scrutiny and fe edback which forms the essential part of theatrical work (Heim, 2016). Performance is evaluated by the spectator, and the specta tor plays a special function in providing feedback to the performer onstage. However, the feedback exchange and relationship between the per former and the spectator in conventional theatres are limited due to the nature of the plays. As a result, in conventional theatre culture, the phrase “fourth wall” was coined to refer to the invisible plane separating the stage from the spectator, also known as the imaginary wall of the space where the play can be set and through which the spectators see the stage (Stichter, 2016). Then, the spectator has a restricted repertoire of acts to do in conventional theat
res, often consisting of but not limited to applauding, interactions by using mobile phones, walking out of auditorium space, sitting, standing, squirming, tapping feet, and shaking heads (Heim, 2016). These acts are considered as feedback to the performer, and accordingly the performance undergoes changes.
Overall, it is clear that, in essence, the performance is based on the interaction between the spectator and the performer, and hence with the feedback received from this interaction. Thus, the perfor mer and the spectator, along with the performance, are among the elements that ensure the realization of theatre. Besides, in conven tional theatres, with the existence of the fourth wall, it can be pointed out that there is a hierarchy between the spectator and the performer in the theatrical experience. This hierarchy also formed and affected the spatial organizations of theatre by separating spe ctator’s spaces and performers’ spaces from each other.
Forming the essential part of theatrical work, scenography has often been directly linked to the design of stage settings in the atres until the contemporary period (McKinney & Palmer, 2018). However, the origin of the word, ‘Skenographia’, dates back to the 4th century BC of Aristotle’s Poetics, and is derived from the Gre ek ‘sken-’, which translates to “scene”, and ‘graph-’, which refers to representational time course of writing in forms of drawings and imagery. However, according to this definition, scenography did not go beyond stage design and was treated as a framework for the performance, constituting the least important part of a theatrical
work by Aristotle.
However, at the beginning of the 20th century, scenography expan ded beyond being seen primarily as a superficial and decorative element, metamorphosed into having a more dynamic and active meaning with the birth of new forms of theatre and performance (McKinney & Palmer, 2018). No longer linked only with the static visual background image, scenography became capable of establishing a dialogue with the performer and spectator, while both responding to and composing the dramatic action.
Then, in scenography, theatre space, set design, props, and costumes are the most fundamental components in establishing the sen se of time and place within a theatrical setting, while the spectator still has awareness of the fictionality of the narrative and the reality outside (Holdar, 2005).
The synergy of objects and dramaturgy, on the other hand, rein forces the ever-transforming nature of the materials used in the scenography. Their first impression and the features that they have are not fixed. Hence, scenography is dynamic, and always transfor ming itself and every element, stage, lighting, sound, and costume contributes to the dynamism and forms the atmosphere of the setting. With these characteristics, scenography is different every time. Some aspects remain, such as props, stage settings, and light and they are repeated in every performance. However, the scenog raphy is never the same as the previous one.
Therefore, the spectator and the performer, both become a part of
the scenography together with all the elements used in the theat rical setting (Holdar, 2005). Therefore, scenography encompasses all the events, experiences, and aspects that contribute to shaping the spectator’s knowledge and perception of the space, related to the plot, play, and performance by the performer that occur in the theatrical setting.
The term “Mise-en-scéne“ refers to the aesthetic and conceptual elements that come together in order to realize the theatrical text on the stage (McKinney & Butterworth, 2015). Thus, it can be defined as a composite framework of possibilities and organizing ide as. In this context, mise-en-scéne forms a part of the scenography in the theatrical experience.
It encompasses the arrangement of scenes, props, and decor ele ments and movements, as well as lighting and sound design (“Mer riam-Webster,” n.d). But besides these, the performer is also a part of the mise-en-scéne on stage. All these elements have an impor tant role in creating the atmosphere and strengthening the plot of the story as previously mentioned (Sreekumar, 2015). The context, of time, and atmosphere in the story are set by using these ele ments in harmony with each other (Holdar, 2015).
Thus, it can be pointed out that while scenography includes all the events and experiences that occur in the theatrical setting, mi se-en-scéne composes of the elements that strengthen the storyli ne of the narrative in the theatrical work.
Taipei Performing Arts Center (TPAC) is located in Taipei, China, designed in 2008 by OMA³ (Pintos, 2022). The building has three theatres that function independently from each other, while all are attached to one another by a central cube. The cube contains stages, backstage areas, a fly tower, a service core, and other additio nal service spaces as well as public spaces.
The three theatres can be adjusted for different scenarios and uses (Pintos, 2022). While Globe Playhouse is in spherical form housing 800 seats, the design of the Grand Theatre, with a seating capacity of 1500 people, accommodates the stage floor, mezzanine, and bal cony on a singular plane, and its design refers conventional theatre typology. Multiform theatre is more flexible than other theatres in design, and with various arrangements, different seating and stage areas can be created within its space.
Grand Theatre
Multiform
Globe Playhouse
Figure 2: Organization of Theatres (Pintos, 2022)
Figure 3: Perspective View (Pintos, 2022) ³International architectural firm (OMA n.d.)
The Multiform theatre is located on the same level as the Grand Theatre. Super theatre is created by combining Multiform and Grand theatre with a shared core.
The central cube is raised from ground level, inviting Taipei’s street life into the theatre experience (Pintos, 2022). A tunnel from Taipe i’s night market extends to the ground floor of the building’s center and creates a square. This situation, which is called the public loop in the building, emerges as an extension that gathers the flow of the city while creating a transition from public life to the performance.
The Public Loop leads the public on a path that passes through all three theatres, while portal windows in the design allow the public to view performances inside the theatres and technical spaces as well.
Thus, the theatre experience is shared with a wider segment of the society, inviting also those who are unacquainted with the theatre to enter the venue and catch a glimpse of performances and the in
ternal working system of the theatre (Prisco,2017). In this way, in Taipei Performing Arts Centre, the dichotomy between public and private becomes obscure. Public spectators creates another level of spectatorship in the experience of the theatre building and performance, for the performers and actual spectators.
Globe Playhouse Viewing Deck Through Offices Bluebox Technical Grid Public Loop Entrance
Figure 5: Public Loop (Pintos, 2022)
Figure 6: Public Loop and the Path of the Public Spectators (Taipei Performing Arts Centre, n.d.)
The second case study is Théâtre de l’Espace, designed by archi tect Edouard Autant in collaboration with actress Louise Lara in Paris, in 1937, to examine how building shapes acts and establis hes purposeful relationships between people, and theatrical spaces (Read, 2005). The architect tested the urban plaza experience with multiple simultaneous scenes surrounding the spectator. Performances collocate fictional narratives and occasionally improvi sations within the space.
In the design, the architect rejected the conventional theatre’s idea of a “fourth wall” and brought spectators and performers into gre ater proximity (Read, 2005). The theatre has five stages in total, three of which are on the upper floor and two are on the lower floor. Each scene has a simultaneous performance, occurring independently from each other.
The absence of any barriers between the stages causes the spec tator to experiences multiple performances at once from different stages by using different senses.
While the spectator is watching a performance, they can also hear another one from one of the other stages. This situation shifts the spectator’s focus from one performance to another and allows the attention of the spectator to be dispersed between performances. Thus, the narrative becomes personal for the one who experiences it, since the interpretation and assembly of the narrative pieces acquired by hearing and watching is conveyed differently according to the imagination of the spectator.
While the performers present the rhythm of everyday life in upper stages, lower stages contain the improvisations of the actors and the interaction arising from their close contact with the spectators (Prisco, 2017). At that point, performers are in the contrasting positions to communicate directly either with each other or with spe ctators (Read, 2005). In addition, since spectators are positioned facing with each other in the design, they have the opportunity to see each other’s reactions during the performance (Prisco, 2017). This gives rise to spectators being influenced by each other’s reac
Figure 8 & 9: Sightlines of Spectators and Perspective View (Read, 2005)tions while forming an important part of the theatrical experience.
In the design, while adjustable skylights offer a view of the sky, countryside views appear from the partially exposed windows in the design (Prisco, 2017). The panels above the windows for the sceneries are designed to be adaptive according to performance.
Theatre, being a lively art form, is actualized by the two troupes: performers and spectators. Thus, theatrical work progresses by the feedback that emerges from the interaction between the spectator and the performer. Feedback given by the spectator is formed within the framework of certain behavioral patterns, such as laughing, shouting, applauding, murmuring... In this context, the acts of the spectator in the conventional theatre are at a more passive level compared to the immersive theatre, which will be discussed in the proceeding chapter. However, one reason for this is the hie rarchy between the spectator and the performer which arises from the nature of dramas that take part in conventional theatres. Thus, this hierarchy also demonstrates its effect on the spatial organiza tion of the theatre. In this context, the case studies examined show the different configurations of different theatre spaces.
Although not directly related to immersive theatre design, TPAC is an example of creating flexibility within the space for different nar ratives by combining different theatre spaces with each other. Alt hough the three main theatre spaces in the design have their own specific areas of use, the combinations they create together reveal new possibilities for narratives to take place within the building. Accordingly, for this research, this could set a basis for the investigation methodology of how different narratives can take place in the settled design of the immersive theatre. In addition to these, the elimination of the dichotomy between the public and the actu al attendees of the theatre experience caught my attention, since it would create another level of spectatorship for the experience
by creating new opportunities to evolve the narrative. For this rea son, I was interested in the design, and the relationship established between the building and its location besides the participation of the public spectator in the theatre experience. This will be a topic for my design that I will focus on later in the Design Part of this the sis. Finally, the public loop in the design transforms the relatively passive theatre experience, as in the conventional theatre unders tanding, into an active experience for the spectators of the building. Although the spectator is still part of the scenography more passi vely during the play compared to immersive theatre, incorporating the loop into the design adds active engagement with the theatre from the perspective of both actual and public spectators. This characteristic resembles the intention of immersive theatres in which the spectator actively participates in the scenography. However, this topic is further explored in Research Part II: Immersive Theat re, Elements of Theatre, Scenography.
In addition to these, the design of Théâtre de l’Espace overlaps with the idea of the immersive theatre, while having a system that encourages the various possible interactions that can occur betwe en the attendees of the play. In this context, I was interested in the fact that the auditorium structure was reinterpreted with the stages created at different levels which sprawls the performance throughout the space. This situation also allows the spectator to hear or see parts of different performances simultaneously which enable them to fantasize about their own stories within the expe rience. This uniqueness of the experiences fits the intention of the immersive theatre and also takes place in my own design, in the upcoming parts of the thesis.
Lastly, besides the spectator and the performer, scenography and mise-en-scéne are other elements that make up the theatre. While scenography includes both the experience of the whole narrative by the attendees of the play in which the attendees also form the scenography, the mise-en-scene is an important part of that expe rience to create a mood. All these elements are also relevant to the immersive theatre genre. Therefore, the next chapter explores how these dynamics has changed and contemporarily functions in immersive theatre.
In the contemporary century, the new form of theatre; `immersive theatre` was born from the need of its spectator to be physically present in physical spaces, to be stimulated instinctively, and to have an intimate experience, with the transition of contemporary life from physical environments to digital environments (Machon, 2013).
In order to comprehend the new dynamics emerging in this theatre form, the research first investigates and reveals how immersive theatre can be defined. Subsequently, the characteristics of immersive theatre are investigated in line with the elements of conven tional theatre. Thereby, in this chapter, elements include the performer and the spectator as well as their relationship, besides the position of scenography and mise-en-scéne in this theatre form. Lastly, three examples of immersive theatre plays are researched.
To begin with, the term “immersive” was formerly only used as an adjective, while in the contemporary period, it is progressively be ing used to indicate a genre of theatre (Machon, 2013).
The word “immersive” can have different meanings in different for ms. While the verb “to immerse“ means to submerge an object in a liquid, although “to be immersed” is only a slightly different form of the verb gramatically, it means to have a full involvement in an activity and the phenomenon of fully integrating in an environment such that the subject becomes a part of the environment (Bouko, 2017).
Immersion thus refers to the activity of immersing or the conditi on of being immersed (Merriam-Webster, n.d.), while “immersive” implies an integration which offers stimulation to several senses (HarperCollins Publishers Ltd, n.d.).
The definitions mentioned above help foreground how immersive experiences in theatre combine the act of immersion and being immersed in an alternative environment in which all the senses are involved with a deep participation in the event in that setting (Machon, 2013). Then, immersive theatre is defined as a theatrical work that uses installations and enormous settings aiming to create an environment where the participants are being immersed within the theatrical narrative (White, 2012).
One of the most distinctive features of immersive theatre that dis tinguishes it from the conventional theatre is the destruction of the fourth wall between the performer and the spectator, both physi cally and verbally (What is Immersive Theatre, 2017). The border between the spectator and the performer and the scenographic materials disappears (Shearing, 2015). Therefore, there is no cle arly separated spectator and performer space (stage). Thus, in this genre of theatre, the interaction of the spectator with the theatre play, the performer, and other spectators elevates. The theatrical experience becomes communal, and everyone involved in the nar rative is crucial for the accomplishment of the performance (Pris co, 2017).
This new position of the spectator makes him/her, to varying deg rees, the central part of the play and contains many possibilities inside for the narrative to evolve (Shearing, 2015), since now the spectator has the freedom that is not found in conventional theatres. This freedom can include many actions, such as moving around in the performance space, making physical encounters, dancing, or having dinner, sometimes according to a pre-set plan, sometimes according to the personal initiative of the spectator. They often have the right to decide when and where they will spend their time in the theatrical setting (Ferdman, 2014). For this reason, this type of theatre often includes many expected and unexpected interacti ons within the theatrical narrative (White, 2012).
With all these features mentioned, the hierarchy between the spectator and the performer is almost non-existent in immersive theatre. That is why, during the interactions that occur within the play, the separate role of the spectator in traditional theatre had abolished (White, 2012). The spectator has become a performer in the most comprehensive way possible. The performer and the spectator have become spectators of their own performances and of each other’s performances.
As it is revealed what immersive theatre is, the aim of the theatrical play of this genre is closely tied to the aim of creating the experien ce of immersion for the spectator. Thus, different from conventio nal theatre scenography, in immersive theatre, the scenography is specialized in where the spectator experiences an involvement in
the narrative of the theatrical work (Shearing, 2015), where their cognitive processes are altered from their attentional state, by leaving the reality of the world behind, and having a distorted sense of time within the theatrical activity (Agreval et al., 2019).
Secondly, as explained, the performer and the spectator relationship within the theatrical play has altered substantially in the im mersive theatre experience. Since the nature of the spectator experience is based on its central position within the narrative now, the spectator comes into closer contact with the other elements of scenography (Shearing, 2015). Thereby, scenography in this type of theatre genre also functions as a mediator for spectator involvement within the narrative.
The presence and participation of the spectator within the play al lows him to exist in the narrative created. Interactions that occur within the narrative, and the spectator’s decision-making ability
within the different parts of the narrative shape a unique experien ce for every spectator. (Machon, 2016). Hence, within the play, the spectator experiences and originates new theatrics by feeling, tou ching, and engaging with the scenography and its settings through active multi-sensory participation (Shearing, 2015). In this sense, in her article, Machon⁴ mentions the relationship between the sense of sight and the sense of touch in immersive theatre (2016). Ac cordingly, the tactile participation of the spectator during plays is often encouraged by altering of vision (Machon, 2016). The sense of sight triggers tactile sense by encouraging the spectator to look at the space over and over again. This situation allows the specta tor to be consciously busy with the position he/she has in the space. Thus, the elevated awareness and attention that emerges allow the spectator to stay in the instant experience of the theatre and to establish a direct relationship with the physical space. If the sense of sight is obstructed, the senses of smell and taste become dominant within the play.
Figure 12: One of the Example Performance - Sensory Participation of Spectators (Brantley & Green, 2017) ⁴Author, practitioner and academician in contemporary performance (Middlesex University, n.d.)
In addition to everything mentioned until this point, bodily move ment is one of the important senses that is addressed in immersive theatre plays. With the new placement of the spectator within the play, the scenography is specialized to assist the physical discovery of the space (Shearing, 2015). Thus, the physical integration of the spectator into the theatrical setting is significant (Agreval et al, 2019). The attendee of the play should have an awareness of his/her bodily presence within the physical space (Machon, 2016). Thus, physical movement in various ways and exploration of the theatrical setting is essential in order to emphasize the feeling of presence. The spectator as mentioned before is now active and mo bile, and many times is navigated by the scale of props, location of projection screens, the targeted light effects, and sound throu gh speakers, as well as the performers within the play (Shearing, 2015). Thereby, the spectator can move both horizontally and ver tically in the performance space, which gives countenance to participants to interrogate their own position inside and as part of the scenography. Thus, the navigation of the spectator is a significant part of the experience. Supporting this, the narrative of the plot most of the time does not have a linear order and the scenes are scattered between the spaces (White, 2012). Then, the narrative of this type of theatre is often fractured and contains false starts and excursus.
The narratives of immersive theatre also often contain collabora tive tasks that will trigger the spectator’s interaction with other spectators and the performer (Frieze, 2021). Spectators are divi ded into teams that may consist of large groups as well as small groups to accomplish a task. These missions can include puzzle sol-
ving, catching the player, having dinner, and escape rooms within the narrative. In addition to these, dance and cinema often appear in immersive theatre narratives, besides the narrative parts that create communal interactions (Immersive theatre 101, 2019). The spectator is primarily in the position of the observer in these parts of the narrative. However, unlike in traditional theatres, this observation may entail not only gazing and observing, but also action and interaction (Machon, 2016). Furthermore, the significance of one-on-one interactions is amplified when the performer and the spectator has a closer encounter. Then, the spectator is obliged to actively participate in the narrative and often starts an active con versation with the performer.
Consequently, it can be pointed out that in immersive theatre, observation, collaboration, navigation and one-on-one conversation of the spectator and the performer are the important aspects that can occur within the theatrical setting and creates added value in the scenography. Besides, although interactivity can have various definitions, three aspects coincide with the definition of interac tivity in immersive theatre by Steve Dixon⁵ (Bouko, 2014). He de fines four levels of interactivity in immersive theatre: navigation, participation, conversation, and collaboration (Bouko, 2014). The variability brought by each interactive experience heightens the sense of immersion as the spectator progresses from one level to the next (Bouko, 2017).
In addition to these, the mentioned features of the immersive the atre, which differs from traditional stages, cause productions to be made frequently in found spaces, buildings, galleries, and someti⁵Academician of LASALLE Collage of arts, researcher and actor (Professorsteve Dixon, n.d.)
Figure 14: One of the Example Performance - Collaborative Tasks (Trueman, 2017)
Figure 15: One of the Example Performance - Collaborative Tasks (Briscoe, 2022)
mes theatres, and often incorporate the entire environment into their formal themes (Shearing, 2015). For this type of usage of the space and site characteristics within the play, the term “environ mental theatre” is used to describe it. It refers to the active utilization of spaces, the location, spectators, performers, and production materials to originate and maintain performance activities.
The concept is developed by Richard Schechner⁶, to evaluate and consider the encounters between the spectator and the perfor mance event (Shearing, 2015). He states “the environment is what surrounds, sustains, envelops, contains and nests these theatrical exchanges” (Shearing, 2015), and with these characteristics, the environment is intrinsically scenographic and forms a significant part of the theatrical event in immersive experiences (Shearing, 2015). Thereby, he also indicates that the elements that are not seen as part of the performance space such as the entrance, lobby, and box office, compose part of the performance environment in immersive theatre. Supporting this notion, depending on the nar rative, the entrance to the theatrical setting may be from a conspi cuous entrance, while it can be also from an unmarked entrance that gives no clue about the venue. The entrance to the theatre also can be from a single or more than one based on the characteristics of the play.
⁶Performance theorist, theatre director, author and academician of Tisch School of Arts (Richard Schechner, n.d.)This chapter will cover new elements of mise-en-scéne in immer sive theatre. However, it should be noted that in this theatre genre, the elements of mise-en-scéne that used to make up conventional theatre still exist. As a result, new elements should be viewed as additions to existing ones.
The tradition of using masks in theatrical play dates back to the an cient Greeks, for both utilitarian and dramatic purposes (Stratford, n.d). Masks were practical instruments that allowed actors to play many characters at the time. It aided in reflecting and conveying the character’s personality and feelings to the spectator. Although nowadays masks are still used by the performers in conventional theatres depending on the drama type, the way the use of masks in immersive theatre plays is relatively different and innovative than before, forming one of the key components of the performance. In Immersive theatre, the mask is a mechanism that provides emo tional participation of the spectator within the performance and is usually considered mandatory within the theatre play. Especially in large-scale productions, the spectators have to wear a white, skele ton, beaked mask with a visor. (Machon, 2016).
This situation serves several functions in terms of performance and audience behavior. One of them is to make the other spectator members less visible and more focused and oriented towards the performance. (White, 2012) Another, however, aims to change the
status of the audience and encourage interaction (Machon, 2016). Although the effect of having a mask is different for every specta tor, it is often seen as a liberating element, since having a mask can invite the spectator to act and facilitate the movement of the spec tator in the theatrical play without being disturbed by the presence and predictive judgment of the other spectators. For this reason, the mask is an effective element in the immersive theatre experience which provides a new kind of audience engagement.
Figure 16: Masks in Immersive Theatre Productions (Rahmanan, 2022)
With the new advancements in technology, now, in the theatre industry, there is a rise in experimenting with immersive technologies which especially includes virtual reality (VR), augmented reality (AR), and mixed reality (MR). These technologies now are at an experimental level, however, in theatre performances, they relatively started to be integrated into narratives in order to comprehend whether they can offer a way of adding extra dimensions to performances (Munoz, 2017). Since these technologies are discussed in collective research already, a general overview will be given in this part of the thesis.
In the 21st century, Virtual reality (VR) technologies are one of the advancements, which have received considerable attention in the contemporary period (Dincelli & Yayla, 2022). It refers to the computer-generated environment which features realistic scenes and items that make the user feel immersed in their surroundings (Stevens, 2021). For the experience, the system of head-mounted displays (HMD) is used.
VR headsets use differently slanted lenses to imitate human stereo scopic vision, or perception of depth, in order to create settings that our brains perceive as reality (Stevens, 2021). 360-degree graphics and audio are generated and in a headset specifically designed for VR experiences to make the user feel surrounded by a world via the imitation of how sight and sound actually function in reality.
Via the head tracking feature, motions are tracked and imitated realistically allowing the user to become the primary actor with a genuine first-person point of view. With these features, total immersion can be achieved if the frame rate is high enough to convin ce the human brain that the visions are genuine.
In immersive theatre, the capacity to provide accessibility to performances to bigger populations is a substantial advantage of VR (Stevens, 2021). However, the most significant impact of this in tegration can be on the altering of storytelling. As mentioned be fore, immersive theatre is a genre that is organically linked to the physical space where it actually occurs, infusing and utilizing it to experience the narrative. On the other hand, in VR experiences the physical space is substituted with a digital environment.
Figure 17: VR in Immersive Theatre Productions (Stevens, 2021)
Augmented Reality is defined as an environment, which is built by blending real-world and computer-aided data (Munoz, 2017). It enables digital objects to be superimposed on physical spaces in real-time (Tremosa, n.d). This technology allows the creation of a composite representation of physical and digital objects without having any interaction between the elements that compose it. While virtual reality (VR) is defined as a completely digital en vironment, Augmented Reality (AR) can provide alterations in the perception of physical space (Sand, 2017).
Mixed reality is defined as an environment, which is built by in corporating computer-generated objects into the physical space
Figure 19: Augmented Reality (Palladino, 2019)
Figure 20: Mixed Reality (AugRay, 2021)
(Munoz, 2017). However, differently from augmented reality, it al lows the interaction of the physical and digital objects with each other in real-time (Tremosa, n.d). Thereby, mixed reality can obtain input from the physical world and modify itself according to it. In today’s technology headsets are used for mixed reality experiences (What is mixed reality, n.d.).
Further research about mixed reality and virtual reality revealed that mixed reality is characterized as a see-through medium to the environment surrounding the spectator, and is more likely to achieve a feeling of presence for the spectator within the immersive theatre compared to virtual reality (Munoz, 2017). According to studies of “event lab”⁷, when virtual reality and mixed reality are compared, virtual reality creates the illusion of the virtual body belonging to the spectator which may create conflict in body owner ship. However, for mixed reality experiences, creating 3D objects with full solid textures as realistic as the real world objects is not yet a trivial task with the current technologies. Therefore, the app lication of mixed reality in the performing arts is still limited.
Different from conventional theatre, immersive theatre genre aims to immerse the spectator within the story during the experience. The spectator is more active and experiences the narrative freely in the setting. Thus, it places the spectator in the center of the nar rative and makes the performance individually unique, while providing the chance to develop a variety of expected or unexpected interactions between the performer and the spectator as the narrative progresses. However, the freedom of the spectator diminis hes the hierarchy between the spectator and the performer which affects the spatial organization of the spaces. Thus, every space experienced by the spectator within the framework of the theatre experience has become a part of the narrative, and hence the sce nography. Therefore, this subject will directly relate to the design presented in this thesis.
The spectator’s tendency to become fully immersed in the perfor mance is, nevertheless, strongly correlated with the effective use of the senses. The integration of physical activity and the stimulation of senses (such as sight, hearing, taste, and smell) supports indivi duals to be in the moment and their feeling of presence within the space, during the performance. In this context, I have come to the decision that in immersive theatre, the experience of physical space is essential to the play. Thus, the experience is enhanced when the spectators engage their entire body in the space and establish a bond with it.
However, while VR applications detach the viewer from the physi cal space, they drag the viewer into the digital realm. However, as
the equipment used is an external and solid material, it can damage the credibility of perception of the space as genuine since the feeling of having an external device may not be negligible depending on the physical properties of the VR equipment. In addition, VR was one of the topics covered in the Hyper Architecture of Desire stu dio research, revealed that the participant’s ability to distinguish physical reality from digital reality is deteriorated after spending more than a certain time in it. However, the duration of immersive theatre plays varies from play to play and is limited to the duration of the script. As a result, VR will not be the primary focus of my design. On the other hand, AR does not support interactivity between real-world and virtual objects. As mentioned multiple times, in immersive theatre, the spectator engages with their senses during the performance, however, AR does not allow the interaction between objects and spectators. Therefore, it will not take part in the design. The most promising of these realities was MR, but it was decided not to be used in the new design, as it also requires additional equ ipment, and the objects in MR are not as perceived as genuine as objects in real world in the frame of contemporary technology.
In this context, I decided that my design would bring the specta tor’s experience of the physical space to the fore using his/her own senses. Based on my research, bodily movement and navigation will be one of the most important topics addressed in the design. However, in addition to this, observation, collaborative tasks, and one-on-one interactions, where conversation stands out, often take place in the narrative structures. In this context, I decided that the se interactions should be parameters for my design. Thus, naviga tion, observation, collaboration, and conversation will be parameters for my narrative spaces.
After investigating the elements that make up immersive theatre, in this part of the thesis, three immersive plays are studied as case studies in order to comprehend the significant points of the theatre in terms of spatial organization for the design phase. Besides, it gi ves an opportunity to understand whether the previously mentioned immersive theatre characteristics and the parameters overlap with the spatial organization of narratives.
In this sense, three theatre plays are investigated; Drowned Man, Sleep No More, and Then She Fell. During the research, informa tion about the narrative parts was also obtained, later to be used for evaluating the new design, however, it should be noted that the confidentiality of immersive theatre works has limited this rese arch.
The Drowned Man is the largest theatre play brought to life by the company Punchdrunk, which hosts 600 spectators per show with a cast of 34, and covers an area of 200 square meters including numerous spaces within its narrative (Guardian News and Media, 2013). Additionally, the play is located in an old sorting office over four floors next to Paddington Station, London (Masters, 2013).
The narrative consists of a tragic love story of two couples, the one living in Temple Studios and the other in the town of Hollywood, which forms the two main narratives within the play (Healy, 2013).
While these two narratives mirror each other simultaneously du ring the performance, various side stories support the main narratives by numerous supporting characters (Masters, 2013). While the play fictionally refers to Georg Buchner’s unfinished play “Woyzeck” having the themes of murder, insanity, and adultery (The drowned man: A hollywood fable, n.d.). The narrative is brought to life with a blend of interpretive dance, contemporary dance and traditional acting (Masters, 2013).
Figure 23: a Scene from Drowned Man (WestendTheatre, 2021)
Figure 24: a Scene from Drowned Man (WestendTheatre, 2021)
During the performance, the spectator has the freedom to roam in the set, while occasionally they follow performers from one space to another based on the narrative (Masters, 2013). The spectator tries to discover the identity of the mysterious person in the scenario by combining the narrative parts that they experience. While doing this, spectators are obliged to wear a mask to be able to distinguish themselves from the performers.
In the theatrical setting, as it can be understood from schematic plans on the next page, spaces are mostly connected to at least one other space. Besides, the fact that the spaces are connected to each other in more than one way gives the spectators a choice to experience different narrative parts when they have the freedom to wander around on their own.
While claustrophobic spaces like the labyrinths, which are small and can only accommodate a limited number of spectators creates mystery during the performance, there are also spaces where many people can experience the narrative communally. Additionally, the individual spaces of the supporting characters are usually the parts of the narrative where one-on-one interaction takes place. The narrative includes shrine, foley prop, Pa’s room, reception room, Marshall plinths, Mary plinths, drafting room, projector room, ice palace, mirror maze, executive room, trailer park, bar, main dres sing room, box maze, motel reception, drugstore dinner, medical examination room, tv repair shop, film set, candlelit shrines, dance hall with water, saloon bar, and many supporting character spaces.
Figure 25: Basement Floor - Schematic Plan of Drowned Man (Temple Studios, n.d.)
Figure 26: Ground Floor - Schematic Plan of Drowned Man (Temple Studios, n.d.)
Figure 27: First Floor - Schematic Plan of Drowned Man (Temple Studios, n.d.)
Figure 28: Second Floor - Schematic Plan of Drowned Man (Temple Studios, n.d.)
Then She Fell is a production based on Alice’s Tale by the writer Lewis Carroll (Prisco, 2017). With its dreamy and delusional theme, the story refers to original fiction. The theatrical play is conce ived by Third Rail Projects (Then She Fell, n.d.) in an old corporate facility that has three floors (Prisco, 2017). The theatrical expe rience takes place in the evening, while the spectators do not wear a mask during the play.
In this theatrical play, the key is provided to spectators to open the set spaces and objects, as soon as they enter the venue (Prisco, 2017). This gives the spectator the power to discover hidden spaces and objects, while the spectator stays on their own in these moments. Compared to the other immersive theatre plays selected in this thesis, the scale of this production is much smaller and includes 15 spectators in each play.
During the performance, to encourage the movement of the specta tor in a choreographed sequence of events, the spectator is obliged to follow the performers from one venue to another (Prisco, 2017).
Since within the set spaces have multiple entrances and exits, coin cidental meetings rarely occur. This situation also slows down the pace of the experience for the spectator. Because the spectator has multiple paths they can choose from to go to a space from another, a certain degree of disorientation within the space is created even if the dimensions of the space are limited. Although the spectator is part of a small group, they feel the illusion of being a part of a larger movement due to disorientation and confusion created by
Figure
Figure 30: a Scene from Then She Fell (Tran, 2016)
Figure 31: a Scene from Then She Fell (Lyall, 2016)
the space. By this means, even though the space may be stationary a sense of movement is imposed to the spectator.
As mentioned, in this play, movement is in the foreground, and the maze-like, small-room spaces feature characters from the original Alice Tale, such as the White Rabbit, Cilgin Hatter, and the Red Queen (Then She Fell, n.d.). The close interaction that occurs between the spectator and the performer in these spaces causes the spectator to feel like a character within the play (Prisco, 2017). Thus, this production consists of dreamy, delusional, and confusing, labyrinth-like spaces and small rooms where one-to-one interaction and movement stand out (Then She Fell, n.d.).
Figure 32: Diagrammatic plans of Then She Fell (Prisco, 2017)Sleep No More is one of the best-known immersive theatre produ ctions up to date (Prisco, 2017). The theatrical work is conceived by Punchdrunk, one of the leading production companies in the immersive theatre industry. The work first premiered in London, after a short while opened in New York. The five-story Chelsea Wa rehouse, anchored by the 1930s-themed McKittrick Hotel houses Sleep No More.
While the production’s narrative is mainly predicated on Shakes peare’s Macbeth, the scenes are different than the linear storyline of Macbeth (Prisco, 2017). Once spectators enter the venue, they have the option to explore the narrative and the theatrical set at their own pace or follow individual performers during the play. Th roughout the three-hour performance, each actor’s performance is repeated periodically three times, allowing spectators to capture crucial scenes, follow different characters, or explore independent ly the narratives every time.
Spectators first enter the hotel and spend time in the lobby, the co cktail bar, which is the transition area that functions as a waiting room before the actual play begins (Prisco, 2017). Meanwhile, the masks are given to spectators before they move within the theatrical setting to explore the narrative. The layout of the floor plans demonstrates that the settings are designed to confound and occasionally disorient the spectator as the journey begins. The specta tor moves through a variety of spaces throughout the performance, each with the promise of a new surprise or encounter. Thus, the spectator is free to explore any area within the theatrical setting, including the lobby area.
In addition, the diversity in scale between the different spaces is a striking element within the setting (Prisco, 2017). Spaces of various scales directly address the content of the narrative inside. Be sides, in the setting, in order to let for continuous motion and flow for spectators and performers alike, each space is physically atta ched to another one. While there are relatively large performance spaces where groups of spectators congregate to watch and obser ve the performance, there are also elaborate spaces, at times even claustrophobic areas in which just a few people can contentedly exist.
Figure 34: Diagrammatic plans of Then She Fell (Prisco, 2017)
Figure 35: a Scene from Sleep No More
Figure 36: a Scene from Sleep No More
Overall, within the play, most of the larger spaces contain basic quotidian furnitures such as beds, wardrobes and chairs transforming into a part of the stage that supports the mobility of the per formers between stages (Prisco, 2017). Throughout the five-story building, the play consists of multiple pieces that can be freely exp lored. These pieces are King James Sanatorium, McKittrick Hotel Residences, Gallow Green’s High Street, McKittrick Hotel Ballroom, and Hotel Lobby (An in-depth guide to the layout of the McKittrick Hotel, inside ‘sleep no more’ New York City [2022 updated], 2022).
As the name suggests, the sanatorium plays a part of a hospital, and in the narrative of the play, the hospital specialized in mental care (‘sleep no more’ explained: A complete guide to the story, chara cters & plotlines [2022 updated], 2022). Based on the audience’s experiences and photographs of the setting, this section is a place consisting of cots, bathtubs, doctors, and nurses, with individual beds. Secondly, The McKittrick Hotel Residence includes the family apartment, cemetery, and orchard. At that point of the narrative, the external environment is brought inside the building with the settings of the cemetery and orchard (Prisco, 2017).
Gallow Green’s Main Street is home to taxidermy, tailor, undertaker, and candy store shops while the McKittrcik hotel ballroom consists of a large stage, an auditorium (An in-depth guide to the layout of the McKittrick Hotel, inside ‘sleep no more’ New York City [2022 updated], 2022). Finally, as mentioned earlier there is a hotel lobby that is used as an entrance to the play, including a check-in desk,
seating areas, and hotel bar. Along with these venues, the set is not limited to the inside of the building, but outside, various brochures and menus in the building’s dining areas characterize the indoor and outdoor setting of the show as the fictional town of Gallow Green, Glamis, Forfar, Scotland (Prisco, 2017).
Based on the three immersive theatre productions, it can be pointed out that each space being connected to more than one venue is a common feature in this type of production. Thus, while providing the freedom for the spectator to be involved in the narrative part to be in, the presence of multiple connections between spaces depending on the character of the narrative may cause the spectator to feel disorientation during the experience. While the spectator has freedom in Drowned Man, and Sleep No More, in Then She Fell, the spectator occasionally has to follow individual characters during the experience. Whereas in Sleep No More and Drowned Man pro ductions, spaces in different scales could highlight the previously mentioned collaboration, navigation, one-on-one interaction, and observation during the performance, the navigation of the specta tor and claustrophobic spaces becomes dominant in Then She Fell. In this case, the previously determined parameters will still be inc luded in the design.
Research on immersive theatre shows that theatre plays are often not site-specific, based on the idea of environmental theatre discussed in Research Chapter 2 - Scenography. However, as stated before, the environment is the structure that forms an important part of the theatrical experience that surrounds, contains, and contributes to the theatrical exchange. In this context, an immersive theatre experience should not be perceived as an event that is experienced after entering a theatre space that is isolated from its surroundings. The theatrical experience has already begun for the spectators, with the experiences gained within the context of the theatrical setting. Thus, the location of the theatre setting is a part of the encounters between spectator and performance, and contributes significantly to how the narrative is experienced, forming part of the scenography.
In this thesis, the first impression was not to choose a specific site for the design, since the context is determined based on the cont rasting nature of different plays in this theatre genre. However, one of the main questions that this thesis tries to answer was to understand to what extent the design can adapt itself to changing narratives of theatre plays. Thus, it created the impression that an exact location selection could be more effective in the research pro cess of this question. The precise selection of the site provided a precise parameter in contrast to the changing narratives of theat res and was intended to contribute to establishing the boundaries and framework of the design parameters.
In this context, there was more than one place where the design could be placed and the final decision was entirely based on the
integration of the public thus interpretation of the mise-en-scéne, which was discussed in former parts of this thesis, and the concept behind the environmental theatre. In his thesis, Maraj suggests that the elements that makeup mise-en-scéne builds an atmosphere and sets a background for the theatrical setting, as in the background is implied through the everyday objects in a real environment in everyday life (Maraj, 2021). Thus, Maraj has specified Markthall, located in Eindhoven, as an intimate, and powerful location for Mise-en-scéne of daily life (2021). Thus, the location is central, and where a diverse group of individuals is concentrated, referring to the environmental theatre, the location could also prepare a basis for the theatrical exchange between spectator, performance, and non-main spectator (public). Thus, the complexity of the interacti ons taking place within the theatrical experience was elevated. As a result of all these statements, Markthall, Eindhoven was chosen as the location of the design project.
The Markthall is the square, where cafes, restaurants, fast-food outlets, and the Heuvel Galerie coexist. The place where the design will be located is at the intersection of these spaces and is surroun ded by circulation on all sides. The height of the buildings on the site varies among two, three, four, and five stories. However, cafes and restaurants are located at ground level, and consist of semi-open (towards the street) and then closed spaces. This situation en sures a usual density at ground level. Besides, access is provided by pedestrian walking while vehicle access is restricted except for necessary circumstances such as service for restaurants, and emergencies. There are two main paths of reaching the site: first coming through a small shopping street starting from the main train station of Eindhoven, second through a long street surrounded by bars, Stratum.
Figure 37: the Markthall (Markt n.d.)
Situation Scale: 1/4000
Figure 40: Circulation Around the Building - Scale: 1/7000
1 2
Figure 41: Paths from Train Station and Stratum - Scale: 1/7000
1 - Train Station
2 - Stratum
The aim of the design research in this part of the thesis was to cre ate a spatial framework for the design of the immersive theatre.
As it was revealed during the research, physical space forms an important part of the immersive theatre experience. Along with the spectators’ physical interaction with the environment, bodily movement is one of the most important senses addressed in this type of theatre (White, 2012). As mentioned before, the sense of presence, which is necessary for the possibility of having an immersion experience in the theatre narrative, is directly related to the spectator’s active use of the physical space and experiences that they gain in the theatrical setting. The spectator, the performer, and the variations of the physical relationship that can occur in the setting can strengthen the theatrical experience. Besides, physical actions create a greater sense of personal participation in the performance and involve the spectator in the fabric of the scenography (Shea ring, 2015).
In this context, in design, the landscape approach emerged, whi ch would encourage physical movement and also overlap with the scenographic approach of the theatre. Although the landscape is a broad subject and can be defined in a variety of ways, further re adings about scenography and landscape mention that landscape, like scenography, can be seen as a versatile experience of time, spa ce, mental and material modes, and its processes (Shearing, 2015). A bodily relationship with the landscape can be seen as an active process of doing. Kenneth Olwig defines landscape as “a particu-
lar area of activity”, which emphasizes the activity of doing within the space, while spectator engagement in immersive theatre put forward an active and deliberate doing of scenography. Thus, Shea ring describes “landscape and scenography as an entwined practice, an active doing that fosters a process of ‘morphing’ between the participant’s body and physical design materials” (Shearing, 2015). Furthermore, he argues that in immersive theatre, the spatializati on of scenography will encourage the physical exploration of space. In this context, landscape experience is described as a part of multisensory immersion that involves the entire body. According to these arguments, the design idea is based on creating a spatial scenography with the landscape created.
After determining the initial concept, looking through the site, and its central position, it is decided that the designed landscape would stretch across the site by connecting the two main paths, one is coming through the exit of the train station, and one is coming from the bars street, Stratum.
Creating two small squares that act as an entrance to the site in which the intersection of the public and the designed building would allow the public to experience the narrative from time to time and create a different level of spectatorship, similar to the idea of Taipei Performing Arts Center. Thus, the building also interacts with the public spaces which are located on all four sides of the site. Besides, occasionally this situation would create the circumstances that the narrative could extend squares based on the structure of the narra tives. Besides, combining these two squares with the created path inside the building would enable the changing interactions and new internal possibilities by creating different relationships with the public depending on different narratives. The area that involves the path would be the transition area for the plays between the ex terior and interior space. Thus, it is decided that depending on the play, the public may enter the building and may use the path inside, while receiving a clue about the play by using transition space.
In addition to these, since the entrance to the immersive theatre is also a part of the narrative experience, and it can vary between dif ferent narratives, I decided to give the building an entrance from all four sides. However, I decided to locate the main entrance from the
north side where one of the entrance squares are located, coming directly towards the site when exiting the train station.
The next step was looking through the functions that the new immersive theatre will have since the spatial organization of the buil ding is affected by the decremental hierarchy between the spectator and the performer.
Therefore, the research first reveals which spaces the spectator and the performer still use together, and in which spaces there should still be a hierarchy between them, based on the conventional the atre and immersive theatre case studies. Accordingly, entrances, exits, and every area that the spectator experiences at first hand, host the spectator and the performer together forming a part of the immersive theatre experience. Although the rehearsal room is not included in the immersive theatre schematic plans, the idea of making a settled design for the immersive plays creates the need to add a space for the performers’ rehearsal, similar to conventional theatres. In addition to these, for the settled immersive theatre, it is decided to add service and office spaces to the design for per formance spaces to function properly. Since technical spaces may contain areas that should not be entered in terms of the safety of the spectator and the proper functioning of the theatrical work, in the design it is decided to separate the technical spaces and offi ce areas from the performance spaces. Hence, technical, rehearsal and office spaces will be located in the lower part of the building such that the spectator does not directly interact with these spaces.
The next step was to determine the elements that would constitute the landscape. Based on the general features of immersive theatre and the case studies of immersive theatre productions, obser vation, collaboration, navigation, and conversation are decided as the main characteristics embodied in plays. In this sense, these are chosen as parameters to constitute a base for the design of performance spaces.
However, it should be noted that these parameters are included in each designed element, to a greater or lesser extent. Thus, in each element of the landscape, one of them is the most dominant. In this part of the thesis, these parameters are used for the design based on how the space can trigger them.
To begin with, for the spectator, to facilitate a higher level of obser vation within the space, conventional theatre typology is interp reted. The spectator is more passive in this part of the narrative and more open to observing the performances of the performers, however, not as much as passive in conventional theatre. As mentioned before, in immersive theatre, this part of the narrative may still involve the spectator’s close interaction with the performer at times, the evolving of spontaneous dialogues between them, and sometimes bodily participation in the performance by dancing, and acting with the performer. Therefore, the fourth wall in the traditi
onal theatre typology had to be broken. In this sense, the case study of Théâtre de l’Espace from Research Part I was a useful example to analyze how the theatrical space can trigger interactions between attendees of the performance. From this example, I was intrigued by the fact that the stages were distributed throughout the space and that there was no barrier between the spectator and the performance which may trigger various possible interactions betwe en them depending on the narrative of the theatrical work. At the same time, the fact that the spectator could experience each other’s reactions within the play provides an additional opportunity for the narrative to evolve during the performance.
In my own design, I interpreted these in two new auditorium spa ces. While the first of these spaces will be used for larger-scale narrative parts, the other is designed for a smaller community. In both venues, the dispersion of the stages attracts the spectator to different performances in the same space. This also encourages the spectator to be positioned close to the stage which encourages the ability to take on a role when necessary within the play. Thus, in both spaces, instead of one large stage, there are small stages scattered throughout the auditoriums. In addition, the fact that the steps in both auditorium spaces are wider than those in the standard auditorium aims to allow the spectators and performers to walk between them and the play to spread spontaneously from small stages to the rest of the space depending on the narrative. Lastly, the overlapping of two designed auditoriums with each ot her and the use of a transparent surface in this clash gives the spe ctator a chance to get clues about how the narrative develops in a different part of the play.
Lastly, the two auditorium spaces, which are designed as the main elements, are extended towards the south side of the site to form a landscape in the outdoor space. Thus, the public is invited to close contact, while the main elements can open up and merge with the landscape of the open space depending on the different narrative requirements.
Overall, while the designed space, by its nature, aims to create a space for a high level of observation for the spectator during the play, it also includes collaboration and conversation from interactions that may arise by its design at a relatively lower level. These two spaces will be referred to as Element I within the landscape.
Figure 43: Diagrams of Element I
Intersecting Auditorium Spaces and Stages
Addition of Public Landscape
Complexity of Interactions - Sightlines
Element I - Flow of Landscape
So as to trigger movement and wayfinding for the spectator, while the tower-like structure is designed for vertical movement, classical labyrinth typology is interpreted for horizontal movement.
For the experiencer, the state of exploring the labyrinth is often a fiction that involves freedom of choice, while being often confusing, sometimes frightening, but at the end of the experience ultimately comforting. In my design, I interpreted this situation by rotating my spaces around each other and increasing the movement time of the spectator in the horizontal plane. Thus, the aim was for the spectator to constantly change their direction while experiencing the spaces to create a degree of confusion about their position within the play, especially through the lower levels of the design. Besides, while the spectator was experiencing the space, they were forced to make a choice where they see that the narrative is divided into two parts, without knowing exactly how the story is developing. At that point of the design, it is an approach that forces the spectator to take an initiative in the development of the narrative from their perspective. In this part, one of the spaces evolves towards a brigh ter and higher level, while the other evolves towards a lower and darker area. Thus, the structure presents both conditions; being in the darkness in the underground imposes a feeling of mystery, and fear, while with the light and being in the upper level, provides a sense of comfort to the spectator.
In addition to these, the labyrinth-inspired element is extended towards the south side of the site outdoor having a relation with
the components of Element I, while it can be opened up and mer ged with the landscape of the open space depending on different narrative requirements.
Being another design element, the tower-like structure aims to tri gger the spectator’s movement in the vertical plane. The tower provides an experience of the exterior and the interior space through the different perspectives of the site for the one who is experiencing it at that moment. Thus, I utilized this idea in the design of the tower. In the tower, the reflective surfaces used on the floor, ceiling, and gallery space create reflections from the plays inside and from the terrain. While there are more interior and terrain reflections on the lower floors, the reflections from the sky increase as you move towards the upper floors. In this case, the site conditions and the sky are also included in the narrative. This situation aims to crea te confusion for the spectator as he/she moves from higher levels about his/her position within the narrative, while also strengthe ning the association of the narrative with the site.
In these parts of the narrative, the spectator is actively walking and exploring the space, hence it was important to offer a clue from ot her parts of the narrative to encourage movement within the play. Therefore, the design of both spaces should allow the spectator to have visual or auditory clues from the point that they experience the play. In this sense, while there are points of view among the spaces that make up a labyrinth-like structure, the absence of a completely closed surface in both designs allows the transmission of sound among different parts of the narratives. In addition to the se, in both designs, the dimensions of the spaces are at such a level
that the spectator can have close contact and develop a dialogue with each other and with the performers.
Thus, both design, by their nature, aims to create a space for a high level of navigation for the spectator during the play and will be na med Element II and III within the landscape.
Auditory Clues
Interior and Exterior Reflections View to Terrain and Narrative Spaces
Possible Directions Flow of Spaces without Obstacle
Darkness - Underground
Figure 45: Diagrams of Element III
In immersive theatre productions, the collaboration of the specta tor with the performers and other spectators also comes to the forefront. In most parts of this section, the spectator is also an active actor of the narrative participating in events like having dinner/ lunch with others, drinking, chatting, and trying to solve a puzz le or secret. Hence the activities they engage in may stimulate a feeling of excitement for the spectator through mystery and won der. Therefore, it can be pointed out that, spaces should be flexible enough to be able to accommodate all these kinds of activities at certain times and should support creation of mystery within narratives occasionally.
In this sense, the spaces for this part of the narrative are designed in a simple form, to be suitable for more than one use. In addition, while there is a space where darkness is more dominant in the design, a relatively brighter space is created in the other. Finally, a level difference was created between two spaces to separate them, while an opening is created to occasionally hear or see another re ferring to the intention of immersive theatre. Besides, the space on the north side is positioned on a higher level, aiming to direct the public and spectators to the building in an intuitive fashion. Overall, the design of this Element aims to lay the foundation for the collaboration of the attendees during the play. These two spa ces will be named Element IV.
The fact that there are occasionally one-on-one interactions betwe en the spectator and the performer in immersive theatre plays, created the impression that it is necessary to include spaces that trigger a much closer interaction, and conversations compared to other design Elements where the two troupes can stay alone within the space. Therefore, cubical spaces in relatively smaller scales are added to the design.
However, in the early stages of the design, how these spaces would be positioned and how they should work were not clear. Later, when all the design Elements were completed, I decided to use the cubic spaces to connect the main Elements that make up the landscape. However, based on the deductions done from the general characteristics of immersive theatre, offering different circulation options between spaces could enrich the narrative and offer flexi bility for the different plays. For this reason, I decided to design these spaces in a structure that at a pinch would connect different landscape Elements according to the play. This decision created versatility for cubic spaces.
In this sense, cube spaces have four functions. The first is that the cubes connect different landscapes according to the different nar rative requirements by becoming a part of the narrative. Thus, it creates an option for the continuation of the narrative for the spe ctator besides ensuring the differentiation of the circulation. The second use of the cubes is for logistic purposes, to transport the spectator to the transition space when the play is finalized. Third, it
was used by the public for spectatorship to the play when the nar rative of the play allows this situation or when the public becomes an additional opportunity for the narrative to evolve.
In addition to these, it is decided that the entrance from the four sides can be controlled by cubes which are the points where different landscape Elements converge. In this way, while the entries change depending on the play, cubes still can be used as part of the narrative. Thus, the relationship of the building with its surroun dings changes according to the different narratives.
In the end, all Elements are joined together with additional landscape Elements to establish a better bond among all Elements. The se Elements guide the public toward the building, while it also offers moments for the public in which they can experience the play in closer proximity.
All Elements and their relationships with each other can be seen in perspective diagrams, section, and plan drawings in the next pages.
Figure 47: Moveable Spaces
Figure 47: Additional Landscape Elements - Perspective View
Rehearsal Room Control and Mechanic Room
D C
C Storage Storage
Figure 48: Plan from -6.3 m - Scale 1/500
C
D A C
Figure 49: Plan from -1.7 m - Scale 1/500
D
A
D A C
Figure 51: Roof Plan - Scale 1/500
Figure 52: Section A-A
Figure 53: Section B-B and Section C-C
To begin with, semi-transparent and transparent surfaces were mainly used in the design. Transparency of the used material was increased when transitioning towards public spaces. The purpose of this was to strengthen the bond of landscape Elements between interior and exterior spaces and to reveal the legibility of the landscape. This creates a duality of public and private spectatorship through the landscape.
Furthermore, immersive theatre is set in found spaces, as previously mentioned in Research Part X. Usually, these spaces can be easily modified, but at the same time they are often old and are able to support the atmosphere of the narratives. Thus, in these spaces, an atmosphere is created by aged materials that occur with the passing of time.
From my point of view, corten steel is one of the materials that can create this atmosphere in my design. It is a material that is pro ne to wearing out over time, thus supporting the atmosphere of immersive plays. Besides, from my perspective, the use of corten steel in a new way has a resemblance with the emergence of im mersive theatre. The material is a new adaptation of the old, as is the immersive theatre genre, which is the new adaptation of the long-standing tradition of theatre in contemporary times. Based on these arguments, corten steel is mainly used in the design of exte rior and interior surfaces.
In addition to these, in the landscape Elements, predominantly concrete is left exposed. From my perspective, concrete is a plain and almost neutral material but it’s also tactile. Just as leaving it exposed creates a sense of touch and being adaptable with it’s neutrality. Therefore, it can provide a degree of flexibility for the set design when change is needed for different plays. Besides, it should be noted that concrete has been used in both for the exterior and interior landscape Elements to strengthen the sense of continuity of the landscape. With the combination of these two materials, a more dominant atmosphere was created with corten steel, while this dominance was balanced with concrete.
Finally, to strengthen the theme within the narratives emphasizing the difference between light and dark areas, the floor material is changed in dark spaces. In this context, grey tiles were used on the dark areas of Elements 3 and 4. In addition, reflective material was used in Element 2, as previously mentioned before with its reasons. The visualizations of building with materials are in the next chap ter.
After the design is completed, this part of the thesis includes tes ting and evaluating the design with three different immersive theatre plays, which are mentioned in Research Part 2.
However, it should be noted that while the plays were incorporated into the design, the themes in the narrative were fictionalized in accordance with reality based on my own interpretation. In the last chapters of each production, in order to test the narratives spatially in the design, the narratives are experienced from the eye of the spectator. At this point, while more realistic visualizations are used to have the knowledge of the general atmosphere of the play, extraction drawings are used to reveal how the space supports the narrative. Within the paths of spectators, narrative spaces that are too similar to each other are not visualized.
Based on the research done on Drowned Man presented in the former parts of this thesis, no particular information was found regarding how the spectator entered the area that the play takes place. However, I assume that the presence of a substantial amount of spectators in this production will clearly reveal the entrance at the beginning of the experience, by the random encounters and the intuitive movements of the spectators as groups, even if the ent rance to the theatrical work is designed to be ambiguous. In this case, in my design, the entrance will be from the main entrance of the building.
The connected nature of the spaces in the narrative necessitated the use of movable cubic spaces in the connections. As a result, each Element in the design will be linked to the other to support these connections.
Figure 55: Entrance to Drowned Man
Since the scale of the Drowned Man production is much larger than the new immersive theatre design, the main parts that make up the narrative were selected and placed into the design for evaluation. Selected parts of the narrative are “Dancehall with Water”, “Cand lelit Shrines”, “Drugstore Dinner”, “Saloon Bar” , “Mazes”, “Ice Palace”, and individual spaces of certain supporting characters.
To begin with, “Dancehall with Water” includes the part where the performers dance together within the theme of water. Since in this part of the theatrical work, the participation of the spectator is more passive while their level of observation is higher, the narrative part is positioned in Element 1. In addition, the fact that Ele ment 1 contains stages within its design prepares the ground for the dance shows of the performers.
Secondly, “Candlelit Shrines” are placed in Element 2, due to their atmospheric requirements that can be a good match. Candlelit sh rines refer, as a theme, to a place where the qualities of the space are fascinating for the one who experience it, also allowing one to occasionally stay on their own to think or pray. Thus, the space is considered sacred and this delusive feeling is strengthened by the light plays created in the Element 2. In addition, the scale of the spaces of Element 2 allows the viewer to be alone and withdraw from time to time.
Thirdly, having dinner in a community requires interaction, sha-
ping both verbal and physical communication with the attendees. This dinner event, which is held with other spectators and performers, reminds the spectator that they are part of a community and strengthens the sense of togetherness among them. In this context, being one of the narrative parts, Drugstore Dinner is positioned in Element 4, due to its structure that allows the collaboration of spectators with other spectators and the performers. Besides, this Element has the flexibility to meet the needs of the drugstore theme for the narrative. In addition to these, the saloon bar in the nar rative part was also chosen to be located in Element 4. Similar to Drugstore Dinner, it includes the collaboration and design criteria that provides. Furthermore, the mazes that constitute part of the narrative were chosen to be placed in the Element 3 due to their wayfinding feature and its typology which were the inspiration for the design of the Element 3.
Lastly, Ice Palace was placed in the transition space (foyer) to pro vide the experience of the whole narrative without any interrupti on for the spectator. In this context, the space provides a suitable environment for Ice Palace, as it supports free exploration of the space by the spectator. The shematic diagram can be seen in the next page.
Dancehall with Water Parameters Navigation Conversation Collaboration Observation
When I directly come to the theatre when exiting the train station, I am directed to the building with the landscape Elements of the square, in the sha dowy place of elevated space, I see a gathering point where other spectators are also located. On the right, I understand the entrance which is emphasized with the regular movement of structure towards the inside.
Transition Space: Ice Palace
When I directly walk from the entrance, I reach the space where semi-transparent blue forms give me the impression that the theme of that part of the narrative is about ice. Semi-transparent surfaces on the left and right strengthen the effect of my experience. I see that the performers are moving around us, however, they tend to stay in spaces where the light comes from the skylight, which defines the spaces for them to stay when they want to grab our attention. From semi-transparent surfaces on my right and left, I occasionally realize different parts of the narratives, and in the far-front I see an elevated space that I primarily do not understand how to reach there. This sparkles my wonder about the upcoming part of my ex perience.
From there, I choose to go to the space close to me, on my right. From the point I sit, primarily I observe the dancers on the stages, while some spectators decide to join their dance on the wide staircases we sit. The blue ribbons used by the dancers and the blue fish and water hanging from the panels in the space still give me the impression that the theme is ice or water. However, secondarily I see the spaces behind the stage, one of them was the narrative part that I just experienced, on the right I see an auditorium-like space again in which the still dancers accommodated. However, from the impression that I have, I cannot see cle arly how the performance of dancers is different compared to the narrative part. Then, I decide to go there and see what is happening.
Element 3: Mazes - Love Story
Coming from the cubic performance space after the dance performance, I reach a space where I see the notes of the love story from the narrative, with the plants and daylight which naturally come into the space giving me the impression that this part of the narrative tells the story of two lovers before they broke up. The structure of the space triggers me to move and get close to the performer. However, the reflections that I see in the farfront give me the impression that there are more than one way to continue later on: right, left, and front.
When I continue, I realize different paths that can be taken as created by illusion made by the reflective glasses. Then, in the next step when I turn right, I realize I am in the space that I saw far away when I enter the first play. This part of the narra tive delivers me the idea that the narrative starts to turn negative. I see the burned pieces of some sculptures on the ceiling besides the fire extinguisher while the reflective dark material on the ce iling enhances this negativity, the concrete on the floor gives the idea of fire’s natural appearance. Vertical and horizontal Elements foster my movement to continue, and I see two ways in which I can choose. On my left, I have more views about the narrative with the use of transparent surfaces and the cavity to enter. However, in the front, I can barely have an idea about the narrative part since I cannot see it completely due to the level differen ce. I wonder about what is in the front, however, I also have the impression that the narrative will turn more negative than how it is on the left.
After the narrative parts that I see on the left, I ar rive to a relatively small cubic space where I face the performer directly. In this part of the narra tive, in order to continue to the next, he explains that we have to solve a mystery, with the equip ment we have. On my left and right, transparent surfaces make me feel that I am watched by the ot her spectators and performers occasionally. This sometimes makes me feel uncomfortable but also encourages me to continue and finish this chapter. Also, on the backside of the performer, there is a small gap intentionally left which again encourages me to continue and see what is happening next.
After we solved the problem, I arrive to a relatively different part of the narrative. Compared to other narrative parts that I experienced, from my pers pective that I look at, the darkness of the space and the change of the floor material gives me the impression that this part of the narrative might be a bit different. The impression given by the per formances, central positioning of the actors in the space as well as the equipment offered at this part of the narrative gives me the impression that we will have dinner together in the theme of a dru gstore. After that, I decide to end my experience.
The second immersive theatre play which is tested in building de sign is Then She Fell by Third Rail Projects. Since originally the play starts from a dark and suspicious entrance, the darkest entry of the design is used for the start of the narrative.
The movable cube spaces are used as stages in the primarily chosen design Elements as mentioned below. It aimed to strengthen the disorientation feeling within the narrative for the spectator by changing the spatial connections with the Elements that connect occasionally during the performance. Then, movable stages are relatively higher in motion during the experience compared to Drow ned Man and Sleep No More and can be connected to each other as well.
Figure 57: Entrance - Then She Fell
The scale of this play is smaller than other theatrical plays, and no specific information was discovered about the narrative parts of the play during the research process of Then She Fell. However, since it is found that movement was prominent in the narrative and the limited number of spectators experiencing the narrative, Elements 2, and 3 are chosen to accommodate the pla.
While Element 3 supports the horizontal movement for the specta tor, its design refers to the maze-like spaces of the original play. In addition, Element 2 encourages vertical movement for the specta tor and its atmosphere matches the dreamy, delusional effect of the original play. In addition, the dimensions of both Elements trigger the spectator to interact more with the performer. Besides, moving stages allow the spectator to stay alone or have one-on-one intera ction with the performer.
While Elements 2 and 3 are actively used by the audience in the narrative, Element 1 is opened to the public after the start of the play, creating a connection between two squares. The reason for the use of Element 1 is to strengthen the idea of being part of larger choreography for the spectator of the play, as well as creating con fusion about who joins the play and who does not. Thus, the public creates another level of spectatorship by observing the spectator experiencing the play and elevates complexity of interactions.
When I was walking around the building, I see that the regular steel structure having movement inside defines the entrance, but I realize that as we move further, the atmosphere gets darker stimulating me to wonder why we start the experience in this fashion. When I arrive to transitioning space, I receive a password to open the doors, then I follow the performer to the next stage.
In the space with the highly reflective surfaces I feel confused about the dimensions of the space. What is the reflection, what is not? I cannot diffe rentiate fully. The equipment inside gave me the impression that there is kind of a labyrinth in this part of the play. However, I also see four different roads I can go, three of which seem like smaller rooms, I cannot understand if they are part of the same space or not. On the right, there is a staircase which makes me wonder what is upstairs.
Upstairs, I meet another spectator and the perfor mer. Here I have a view of the city. However, with the reflections of the sky, the performer grabs my attention by talking with us. In this part of the narrative, I am experiencing nature inside the bu ilding. But feels exaggerated to be true, as in Alice’s Tale.
When I follow the spectator, we get into a move able space in which the narrative stills continue. When I look directly I see people in the auditori um sitting, walking, and talking with each other. I wonder if they are part of the narrative or not. I am not sure if they all are a spectator or if there are also performers.
When we come to transitioning space again, I see there are people around the space, which I think are also the attendees of the theatre. However, I follow the performer as she said, and continue to walk.
I enter a space that seems like nature dominating the interior of the building, the color tone of the wall supports this idea. The level difference going down encourages me to move, while I cannot really see what will happen when I get there. In the background, I see outside on the left and on the front, which makes me curious about if the narra tive will finish in there.
The third immersive theatre play which is tested in building de sign is Sleep No More by Punchdrunk. As discussed before, Sleep No More is an immersive theatre play set in a five-story building where the narrative is explored non-linearly by the spectator.
The fact that there is no certain order in the story, there is no restriction on which narrative parts will be discovered in which order, then the circulation within the story does not have to be in a certain order. The movement of the audience is completely free within the play. Based on these, in Sleep No More, from the beginning of the play, by the moving spaces allowing entrances from four sides of the building, the spectator is given the freedom from which entrance to enter. Then, each of them directs the spectator to the transiti on area. In this way, the idea of free circulation within the narrative is not limited to the inside setting.
Similar to the Drowned Man, each space is spatially linked to anot her one. Therefore, it was decided to use the movable cubic spaces
Figure 58: Entrances - Sleep No More
in the narrative in a way that connects the design Elements at the maximum level.
Based on the design parameters, it was decided on which elements in the design the narrative segments are located. The sanatorium, which constitutes the mental hospital, requires higher interaction and collaboration with the actors and other spectators, due to the nature of the relationship with the doctor and other patients within the narrative. In this context, this part of the narrative was positioned in Element 4, where the space triggers the movement less and stimulates conversation and especially the collaboration with the actor and other audience members. In addition to these, the beds, bathtubs, and additional medicines that the sanatorium will have create limitations for dimensions of the space, and fits the idea of flexible use of Element 4. Furthermore, the idea of a mental hospital having a frightening theme brought the idea of a dark and mysterious atmosphere. Then the Element 4 was also suitable for this part of the narrative with its atmosphere created by the domi nant darkness within the space.
The McKittrick Hotel Residence includes a family apartment, ce metery, and orchard divided between two elements of the design. Since there is no linear storyline within the narrative, it is assu med that dividing the narrative parts between two elements will not have a negative impact on the experiencing of the narrative by the spectator. While the family apartment and sculpture garden are located in Element 2, the cemetery and orchard are positioned in Element 3. The family apartment inherently involves vertical na
vigation and incidental conversations to a significant extent. With these features, the Element 2 has a design that can support the navigation, and conversations of the spectator in the family apart ment. In addition, Gallow Green’s high street consists of a series of shops and individual spaces of the supporting characters are loca ted in moveable spaces, where one-on-one interaction can occur.
The cemetery is inherently scary, however, it also often requires wayfinding skills within the area. It is an area away from the crow ds where the spectators mostly experience the space by themselves. With these characteristics, the darker spaces of the Element 3 are chosen for the cemetery due to its navigational, and atmospheric features besides its dimensions where few people can only co exist. In addition to these, the orchard is located in the Element 3, referring to the navigational characteristics of the orchard, and is located in the part closest to the open space in the Element 3 . This positioning of the space strengthens the idea of being in an exter nal environment.
While McKittrick Hotel Ballroom is positioned in Element 1, due to its typological qualities matching with the auditorium in which the observation of the spectator is higher in this part of the narra tive compared to other scenes. Besides, stages in Element 1 cre ates space for the dance of performers and spectators. Lastly, the transition space from the exterior to the interior environment is dedicated to the hotel lobby, including the bar, overlapping with the lobby function in the narrative.
McKittrick Hotel Ballroom Parameters
Looking through the building, I see the entrance emphasized by the movement of the structure inside, which is located between the two main spa ces.
I enter the narrative directly when I enter the first space. Here we are drinking some McKittrick cocktails with other spectators and performers. The dimness of the space strengthens the idea of a bar. However, I see that the corner of the space on the right has created an area for the bar to be located.
Then, I reach the auditorium where the perfor mers are inviting spectators to dance on small stages. While I am dancing, I realize other spectators can also see us occasionally. Besides, I realize at the end of the space there are three ways that I can continue, which I do not notice while I am sitting.
When I go to the right I arrive to a completely dif ferent space which seems scary at first. The darkness of the space, and the dimness created by the right opening towards another space strengthen this feeling. Besides, sudden changes in the floor material support it. From the general atmosphere of the space, I understand here is a sanatorium. After talking with the performer, I continue my journey towards the light.
In this part of the narrative, the stage seems like an orchard where the landscape strengthens this feeling by creating a continuation between the interior and exterior environment. It gives me the impression that there is no strong separation between them supporting the idea of the orchard.
I exit from the orchard, and I get an impression that the narrative still continues in the exterior, where the performers are walking around and tal king to us. At that point the public around us seem to be part of the play being like the residents of Gallow Green.
This thesis aimed to present an answer to the question of how architectural design can adapt itself to changing narratives of im mersive theatre experiences in the contemporary period. Based on literature research, case studies, and examination of the proposed experimental design, four parameters were determined: collaboration, navigation, conversation, observation. These parameters were applied in the design, which was affected by the atmosphere as well as the findings of the aforementioned research stages. Then, in order to find a relevant answer to the research question, an iterative methodology was adopted by evaluating the applica bility and effectivity of the design through testing three different immersive productions, using spatial visualizations and models.
In light of the outcomes of the evaluation stage, it was discovered that creating and selecting parameters by analysing immersive theatre productions and their spatial design allowed for extracting common features that helped engineering the relevant features required for developing an adaptable design. Although different plays may have different requirements, the play and the design can function in harmony regardless of the details of the narrative as long as the scale of the narrative and production is coherent and scalable according to the dimensions and design of the spaces in the building. However, it should be noted that the inclusion of tech nology in immersive theatre may cause changes in the structure of the narrative, and may create new short-term adaptability require ments to the building according to the narratives. But it should be noted that the use of technological devices was mostly discouraged
in the design due to their potential of negatively effecting the aut henticity of the theatrical experience.
Another relevant feature proposed for the adaptability was the use of moveable cubic spaces to create some alterations in circulation for different narratives. The versatility of these spaces supports different uses within the plays and creates a degree of flexibility in the design. Furthermore, spaces support different narratives with the different features that emerge during the different producti ons. In the design, although the space is fixed, the changing nature of circulation helps experience the same space in a different way which contributes to the experience of different narratives without actually creating new spaces. Finally, the fact that the design can change its relationship with the public depending on the narrative may be an extra contribution for strengthening the narrative and experience of the play with the participation of the public in the experience.
To conclude, based on my own interpretations and research, the design proposed is one of the approaches that can be adopted to tackle the question of how different narratives can be adapted to a physical buildings in immersive theatre.
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