However, this practice is entangled with the question of future training for operatic practitioners outside the mainstream opera format, and beyond both Wagnerian and Brechtian spectatorship. The findings indicate that so-called ludo-immersive opera could be developed into operatic chamber opera play for self-reliant participants, constituting an intimate and alternate practice in which dynamic game-masters may replace supervising directors. A differentiation of immersive modes has been made possible by the framing of opera-making as game design. How can live-performed chamber operas be conceptualized as immersive games with interactive features? This artistic study has resulted in a system model through which degrees of immersion may be generated and analyzed from physical, social, and psychical stimuli.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |