Touching the Spectator

Intimacy, Immersion, and the Theater of the Velvet Rope

Authors

Colette Gordon University of the Witwatersrand

Keywords:

Eroticsm, Performance Studies, Macbeth

Abstract

Immersive media is a hot topic, especially in the United States. The novelty value of Punchdrunk's Sleep No More, which became New York's hottest ticket in 2011 and 2012, has positioned the British company's trademark brand of "immersive theater" at the front of debate about new media and the future of storytelling. This work is supposed to "shatter" the fourth wall of traditional non-immersive theater, and spectators describe the experience as "mind-blowing." For audiences, the ability to interact physically with objects and the actors' bodies is the core of this hardcore theater experience. But it can be argued that Punchdrunk does very little to engage the fourth wall and that its commodification of the one-on-one encounter bypasses an opportunity to break down the distinction between audience and performer, the radical boundary crossing that immersive media is supposed to achieve. Both media pundits and performance scholars have been remiss in praising this sexy new theater. Comparing scope for theatrically significant audience-actor interaction here and in théâtre érotique, I propose that sex shows, while acknowledging their foundation in sex and voyeurism, may in fact produce a theater less compromised by voyeurism and audience neediness than Punchdrunk's theater of intimacy. The argument is not that SNMisn't serious theater because it's too much like a skin show, but that the skin show might do more as theater.

Author Biography

Colette Gordon, University of the Witwatersrand

Colette Gordon is a Lecturer in the Department of English at the University of the Witwatersrand. She has taught at Queen Mary, Goldsmiths, Royal Holloway, Central School of Speech and Drama, University of London, and The University of Cape Town. Her articles on economic criticism and early modern drama, intercultural and contemporary performance, and Shakespeare in Africa have appeared in Shakespeare, Cahiers Élisabéthains, and Shakespeare in Southern Africa, with work on Shakespeare in prison forthcoming. She is working on a book-length study of the interaction between early modern credit culture and stage performance entitled Shakespeare's Play of Credit.