How to evaluate the artistic level of "immersion drama" "sleep no more"

“Let’s go to the theater and watch a play!” When you hear this sentence, if the picture that comes to your mind is just sitting in the auditorium of a traditional theater and admiring the actors’ performances on the stage, then you will How wrong. What's hot in New York right now? It is not a Broadway with endless tourists, but a series of "immersion theater" works that boldly break through and are unconventional.

The concept of "immersion theater" originated in England. "Immersion", as the name suggests, completely envelops the audience in a set dramatic environment. The British company Punchdrunk is a well-deserved pioneer in immersion theatre. The theater company was established in 2000 with the aim of changing the inherent mode of passive acceptance of performances by audiences in theaters and encouraging the audience to actively discover and explore the plot. In the 13 years since its establishment, the troupe has produced 16 works. Each production follows the troupe's consistent theme. The most famous of them is "Sleep No More" which was a smash hit in New York.

"Sleep No More" is adapted from Shakespeare's classic "Macbeth". There is no dialogue in the whole play, and all performances rely on the actors' body and expressions. In order to create a Hitchcock-style suspenseful atmosphere, the production team deliberately renovated a hotel in Chelsea that had been abandoned for nearly half a century. More than 200 volunteers spent nearly 4 months setting up the props and scenes with exquisite details. The 5-story hotel has nearly a hundred rooms, ranging from the spooky lunatic asylum to the moss-covered garden; from the exquisite and luxurious bedrooms to the dazzling ballroom. Punchdrunk has created a real and tangible world in this 9,300 square meter space. Conspiracy, desire, power, and love are brewing in every corner at the same time.

In the play, more than 20 actors shuttle back and forth between the floors, each character telling their own story. They met briefly, but separated quickly. The audience wears white ghost masks and walks back and forth between the floors. They cannot speak, but they have absolute freedom to choose to follow an actor or touch any object. They also have a large degree of freedom to choose their distance from the actors. They can watch quietly from a distance, or they can interact generously with the actors and become a part of their world.

"Sleep No More" was performed in New York in March 2011. It was originally scheduled for less than half a year, but it has been performed again and again, and it has been two and a half years now. Its success once again confirms the audience's demand for alternative theater experiences at a time when traditional theater is dominant. At the same time, when the theater industry is racking its brains to win over consumer groups other than traditional consumer groups, "Sleep No More" and the emergence of its diverse audience groups have given the industry a big shot in the arm. There are many factors that contribute to its success, but mystery and a constant sense of freshness are definitely the winning keys. More than 10 story lines are unfolding at the same time. With the probability of the performance being repeated three times in one night, the audience who has only been there once or twice will not be able to see the whole show in its entirety. Even if you are an avid fan who has watched it 25 times and is completely familiar with the plot direction, you will still find new surprises. Because the audience and the actors are each thoughtful individuals, every interaction is a new collision, which will naturally produce new sparks. In addition, the production team also worked hard to maintain a sense of mystery. In each performance one or two guests are given special rights to enjoy special surprises not open to the general audience. It is this unique and unforgettable experience that drives audiences to watch again and again.

After the "Sleep No More" hit, New York started a craze for "immersion theater". Works from all walks of life continue to emerge.

There is "Then She Fell", a dance drama based on "Alice in Wonderland" set in an abandoned mental hospital, and "Speakeasy Dollhouse", an interactive murder drama based on real historical murder cases. , and the critically acclaimed rock musical "Natasha, Pierre and the Great Comet of 1812" (hereinafter referred to as Natasha). "Natasha" is adapted from Tolstoy's masterpiece "War and Peace." In the fall of 2012, the play made its debut at Off-Broadway's non-profit theater Ars Nova.

The small theater was built into a unique Russian tea room, crowded but orderly, which perfectly complemented the plot. Actors move back and forth among the audience. Commercial producers from all over the world have invariably sensed the show's potential as an alternative theatrical experience after "Sleep No More" and have extended their olive branches to Ars Nova. The first to bear the brunt is "Sleep No More" producer Randy Weiner. So "Natasha" announced its transition to a commercial operation mode shortly after finishing its first 7-week run. The production team set up a huge tent between 13th Street and Washington Street in Chelsea. The interior decoration is a collection of high-end velvets, exquisite wall hangings and expensive chandeliers, truly replicating the appearance of a Moscow nightclub. The audience was spread out across the venue, and the actors used every inch of space to perform and interact with the audience. What’s more interesting is that the show also provides dinner and drinks, and the audience can order food from the waiters played by actors. Eating a Russian meal, drinking vodka, and being enveloped by the Moscow style. The performance has already won the hearts of most people before it even started, not to mention that the scenes of joys and sorrows written by Tolstoy are being vividly staged.

In fact, "integrating the audience" is not a new concept. As a pioneer force in innovative exploration, the European and American theater circles have already made various attempts on this. From early mainstream musicals such as "Cats" and "The Lion King", the animal characters played by actors interacted back and forth in the audience, to today's Belgian avant-garde director Ivo van Hove's performance at BAM (Brooklyn Music) In the "Roman Tragedy" presented by the Academy), some members of the audience are encouraged to come on stage to watch the performance and at the same time become the scenery for the audience in the audience. There are countless attempts. The emergence of immersion drama represented by "Sleep No More" has achieved the ultimate in integrating into the audience.

Of course not everyone agrees with immersion drama. The traditional theater circle has more or less doubts about this emerging drama form, especially the practice of splitting story lines and disrupting narrative logic. , often leaving the audience confused. If they don't have a full understanding of the adapted material, I'm afraid it will be difficult for the audience to understand the plot. As the core of drama, a good story is easily overlooked in emerging dramas where form outweighs content. But this does not seem to affect the curiosity of most viewers who want to experience it, nor does it affect the pace of theater investors to continue. Today's commercial dramas on Broadway and Off-Broadway lack new ideas, and the possibility of recovering costs is getting lower and lower. Because this new force in drama has become a lifeline for many producers. At least in these short two years, "Macbeth", "Natasha" and "Alice" have all tasted the sweetness, but how long can such an absolute advantage be maintained? When immersion drama becomes the next traditional drama, what kind of novelty will emerge in the cracks?