Abstract
Across the past decade, ‘immersive performance’ has become an oft-used label for a wide variety of practices, alongside the concept of pervasive work. Both terms point towards experiences that introduce audiences to new worlds, which may or may not be related to our everyday reality. This chapter will briefly introduce definitions of immersive and pervasive performance, and place these alongside examples that borrow from gothic and horror traditions. Ultimately, I aim to show how these modern experiences link back to the earliest days of horror literature, and why the immersive and pervasive provide a particularly fertile expression of the Gothic.
| Original language | English |
|---|---|
| Title of host publication | The Palgrave Handbook of Contemporary Gothic |
| Editors | Clive Bloom |
| Publisher | Palgrave Macmillan |
| Chapter | 60 |
| Pages | 1019-1031 |
| Number of pages | 13 |
| Edition | 1 |
| ISBN (Electronic) | 9783030331368 |
| ISBN (Print) | 9783030331351, 3030331350 |
| DOIs | |
| Publication status | E-pub ahead of print - 11 Jul 2020 |
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Profiles
Madelon Hoedt
- Department of Media and Performance - Senior Lecturer in Drama
- School of Music, Humanities and Media
- Research Centre for Performance Practices - Member
Person: Academic
Cite this
Hoedt, M. (2020). Immersive and Pervasive Performance. In C. Bloom (Ed.), The Palgrave Handbook of Contemporary Gothic (1 ed., pp. 1019-1031). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-33136-8_60