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New Community Design to the Rescue: The Promises and Pitfalls of Post-Pandemic VR Theatre in North America

  • Cyrielle Garson

    is Lecturer in contemporary anglophone theatre at Avignon University and the former secretary of Radac (the French society for contemporary drama in English), which organised the thirtieth CDE Conference on “Theatre and the City” in Paris in 2022 (published proceedings in the Journal of Contemporary Drama in English 11.1). Her PhD thesis on British verbatim theatre received one of the CDE bi-annual awards in Hildesheim in 2018 and subsequently became a monograph in the CDE studies series (2021). In parallel, she has begun to explore the emerging field of VR theatre and performance, especially its striking post-COVID-19 manifestation in both the US and Canada. In the context of the 2023 edition of the Avignon Festival, she also co-organised SVSN – a professional event specializing in digital theatre – which premiered in France both Brendan Bradley’s NPC and Ferryman Collective’s Gumball Dreams. In December 2023, she became “digital woman of the year” in the Southeastern region of Provence-Alpes-Côte d’Azur in France.

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Published/Copyright: October 1, 2024

Abstract

Amid the aftermath of the COVID-19 pandemic, the societal role of theatre is undergoing renewed scrutiny, prompting a reevaluation of its capacity for critical intervention and response. In this context, the emergence of new hybrid and digital forms, particularly the intersection of theatre with extended reality (XR) technologies, such as virtual reality (VR), presents intriguing possibilities. This article centres on the convergence of theatre and VR, with a focus on the pioneering efforts by Tender Claws and Piehole, Agile Lens, Single Thread Theatre, the Ferryman Collective, and Onboard XR. Some of their innovative productions, respectively Tempest (2020), A Christmas Carol (2021), Collider (2021), Gumball Dreams (2022), and NPC (2022), forge distinctive communities, altering audience dynamics through avatars. By examining these recent endeavours in North America, this study delves into VR’s intersections with and departures from analogue community theatre practices. As the metaverse unfolds, new questions arise: can it liberate theatre from systemic constraints or might it risk transforming experiences into tradable commodities, aligning with mainstream neoliberal democratic politics? This inquiry not only probes the transformative capabilities of VR theatre, but also dissects its broader sociopolitical implications at the intersection of art, technology, and society.

About the author

Cyrielle Garson

is Lecturer in contemporary anglophone theatre at Avignon University and the former secretary of Radac (the French society for contemporary drama in English), which organised the thirtieth CDE Conference on “Theatre and the City” in Paris in 2022 (published proceedings in the Journal of Contemporary Drama in English 11.1). Her PhD thesis on British verbatim theatre received one of the CDE bi-annual awards in Hildesheim in 2018 and subsequently became a monograph in the CDE studies series (2021). In parallel, she has begun to explore the emerging field of VR theatre and performance, especially its striking post-COVID-19 manifestation in both the US and Canada. In the context of the 2023 edition of the Avignon Festival, she also co-organised SVSN – a professional event specializing in digital theatre – which premiered in France both Brendan Bradley’s NPC and Ferryman Collective’s Gumball Dreams. In December 2023, she became “digital woman of the year” in the Southeastern region of Provence-Alpes-Côte d’Azur in France.

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Published Online: 2024-10-01
Published in Print: 2024-09-30

© 2024 Walter de Gruyter GmbH, Berlin/Boston

Articles in the same Issue

  1. Frontmatter
  2. Frontmatter
  3. Theatrical Plausibility in the Drama of Migration
  4. New Community Design to the Rescue: The Promises and Pitfalls of Post-Pandemic VR Theatre in North America
  5. Towards a History of COVID-Era Theatre: Philip Ridley’s The Beast Will Rise
  6. Contested Heterotopias: Translation Technologies in Post-Devolution Welsh-Language Drama
  7. Productive Transfers: Scottish, Welsh, and Northern Irish Drama Across Borders
  8. The Unrepresentable Takes the Stage: Bisexual Legibility and Theatrical Monosexism in Contemporary English-Language Drama
  9. A Journey towards Womanist Agency in debbie tucker green’s trade
  10. Seda Ilter. Mediatized Dramaturgy: The Evolution of Plays in the Media Age. London: Bloomsbury Methuen, 2021, ix + 221 pp., £85.50 (hardback), £26.09 (paperback), £20.87 (Epub, PDF).
  11. Sam Haddow. Precarious Spectatorship: Theatre and Image in an Age of Emergencies. Manchester: Manchester UP, 2019, xi + 192 pp., £85.00 (hardback).
  12. William C. Boles, ed. Theater in a Post-Truth World: Text, Politics, and Performance. London: Methuen Drama Bloomsbury, 2022, x + 224 pp., £81.00 (hardback), £26.09 (paperback), £20.87 (Epub, Mobi, PDF).
  13. Emma Willis. Metatheatrical Dramaturgies of Violence: Staging the Role of Theatre. Cham: Palgrave Macmillan, 2021, xiii + 226 pp., €116.59 (hardback), €116.59 (paperback), €93.08 (Epub, PDF).
  14. J. Paul Halferty and Cathy Leeney, eds. Analysing Gender in Performance. Cham: Palgrave Macmillan, 2022, xiv + 322 pp., £76.50 (hardback), £53.49 (paperback), £42.79 (Epub, PDF).
  15. Lauri Scheyer, ed. Theatres of War: Contemporary Perspectives. London: Bloomsbury, 2021, 353 pp., £90.00 (hardback), £28.99 (paperback), £26.09 (PDF ebook).
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