“Immersive theatre is a playground for audiences and characters to connect” – this is the philosophy behind Rebecca Brower and Tom Maller, the creative minds of “Peaky Blinders: The Rise.” They take us from the conception to the execution of staging, design, and interactive storytelling, which immerses the audience in the atmospheric depths of 1920s Birmingham right in the heart…
“Immersive theatre is a playground for audiences and characters to connect” – this is the philosophy behind Rebecca Brower and Tom Maller, the creative minds of “Peaky Blinders: The Rise.” They take us from the conception to the execution of staging, design, and interactive storytelling, which immerses the audience in
“I think our superpower in this sector, regardless of the kind of immersive or interactive work that we make, is effect. And I think our ability to put people in other people’s shoes or perspectives and to generate empathy and to generate transformation, which is at the heart of what
“We create work with the people of a place to make sure those experiences are unique. We rarely come with an idea. We come to a place, meet its people, and then we co-create the work together. Co-creation is really at the heart of everything we do.” In this talk
“When people who come from a theatre background come into it, the one thing they find really difficult is that there’s no script and certainly from the lighting and sound point of view, they keep kind of going ‘how are you meant to design if you haven’t got a script?’”
“You don’t need to wait for the perfect situation to take on that new project. While your design journey may be unconventional, if you remain adaptable, attentive, and willing to adjust along the way, you might discover something far more extraordinary than you ever envisioned.” Soph Shaw from Wake The
Diverse, discerning, and culturally engaged When the Immersive Experience Network (IEN) was founded in early 2022, we recognized a significant gap: the lack of research and accessible data to support commercial decisions, develop marketing strategies, and aid funding applications. Whilst the cultural participation monitor collected data for the broader Creative
THE DEFINITION Five years ago, everything was curated: playlists, menus, holiday packages. Today, everything is immersive: shops, gyms, cafes. The adjective has well and truly entered the kingdom of buzzwords and is brandished at every corner as an oft-disappointing promise that any interaction with culture will stimulate all your senses
“This is like stepping into a movie where you are at the centre of the plot. We recreated London in 1605. You learn spy tricks, you learn code, you run through corridors…and you affect the outcome of that story. So it really is you at the centre of the Gunpowder
“First you need the story, what you want to tell, and then choose the appropriate method or format to tell that story.” Pulling on academic articles by Dai-In Danny Han and Wim Strijbosch, Chris Lattner (The Room Laboratories) talks through the elements that make an escape room fully immersive including
“We’re wired as humans for narrative, we make sense of the world through narrative. But we learn through play, we’ve learned through mistakes, to be honest, right? It’s the place you can mess up. So when you have a narrative and play, and then you add location to it, be
“We’ve all had our own experiences here in this room about being in a room, going to an immersive experience, hearing a powerful piece of music and having that change how you feel and ultimately we look at what happens in your brain and your body when you’re going through
Reconsidering “Immersive” I really struggle with the term “immersive,” or maybe I don’t struggle but am really critical of how it is being used, as so many people have different definitions for it. It has become a keyword, a buzzword used to sell tickets, rather than a concept explored within
