In theater performances, there is a form called "Site-Specific Performance", which is temporarily translated as "Special Field Performance". , while the process of the performance itself will focus more on excavating, connecting, and interpreting the environmental characteristics, cultural context, and aesthetic values of the site. As you may know, the popular practice often gives the audience the freedom to move around in the performance venue, perhaps through the guidance of earphones and staff, according to suggestive props, to freely choose the viewing path, and even integrate immersion in the performance form.
The elements of immersive theatre, such as turning the audience into performers at the same time, in addition to sight and hearing, also use touch, smell, taste, etc. to increase the interaction in the relationship between audience and performance during the performance. The performance in "special venues" is not so much a reversal of the master-slave relationship between the performer and the audience as it is to break through the opposition and responsibility inherent in the absolute relationship. However, it is easy to have panic Wedding Photo Editing or anxiety in it. In the performance structure lacking a "complete narrative line" or so-called "text", the participants (audience) will be forced to cobble together a bunch of "elements". , feel confused or even bored. Maybe it's because audiences tend to have expectations, thinking that their existence can have too much power to put them into meaning beyond the content of the performance itself. Maybe in the popular immersive theaters on the market, it's easier to achieve such a Entertainment, or even the effect of self-deception.
Here Brith Gof proposed a theory of Host (referring to venue) and Ghost (referring to performance). I have always found it interesting but clear. The general concept in the original text is: performance does not, and should not be concealed The nature of the field, in the same way, no matter what external things are brought in there, the field will still be tangible, solid, and always have a way to be seen through the transparent nature of the performance. Having said too much, to sum up the above elements that are close to falling out of the book bag in one sentence, the fundamental value of special field performances is: "the less human intervention in the scene, the better", "the best solution is not to deal with it". More than two years ago, we spent countless nights with friends and had so many metaphysical discussions in London, and we were so world-weary that we were so ambitious that we divided this kind of performance into Chinese and English contexts for research. It seems that you have to rummage through as many papers as you can, to participate in various inexplicable performances, to visit, to listen, to see, to feel, to go to the scene, to go to a certain space, in order to know how empty