University of Surrey

Test tubes in the lab Research in the ATI Dance Research

Politics in the Dark: Risk Perception, Affect and Emotion in Lundahl and Seitl’s Rotating in a Room of Images

Alston, A (2013) Politics in the Dark: Risk Perception, Affect and Emotion in Lundahl and Seitl’s Rotating in a Room of Images In: Affective Performance and Cognitive Science: Body, Brain and Being. Methuen, London, pp. 217-228. ISBN 9781408183984

[img]
Preview
Text
Alston, Politics in the Dark.pdf
Available under License : See the attached licence file.

Download (393kB) | Preview
[img]
Preview
Text (licence)
SRI_deposit_agreement.pdf
Available under License : See the attached licence file.

Download (33kB) | Preview

Abstract

This chapter reflects on the close relationships between affect and risk in the aesthetics and politics of immersive theatre. The participatory demands of immersive theatre are such that audiences are more than just receivers of theatre, but producers as well. As producing receivers, participants are required to contribute to the creative trajectory of a theatre event without necessarily knowing how to participate or even what it is that they are meant to be participating in. Immersive theatre requires audiences to invest in uncertainty and this investment is what characterises participation as risky. But risk emerges in another sense as well, for this engagement with uncertainty tends towards the production of affects such as exhilaration, anxiety, embarrassment, or, on rare occasions, fear. Drawing on cognitive psychology and neuroscience, the chapter approaches the relationship between risk and affect in two ways: firstly, by looking at how risk might be experienced as an affective presence; secondly, by asking how committing to a theatre event which might produce a variety of affects is itself a risk for participating audiences. Given risk’s relationship to uncertain futures, the implication of feeling risk as an affective presence collapses that future into a material present, material because of affect’s functioning through and impact on the embodied mind. The implication of committing to the risky production of affect is a political one, for it brings into play the distribution of power dynamics within performance: who affects and who is affected? This chapter, then, will approach the relationship between risk and affect in immersive theatre as one imbued with political resonance, raising the stakes of what it means to engage with immersive theatre as a participating audience.

Item Type: Book Section
Subjects : Arts
Divisions : Faculty of Arts and Social Sciences
Authors :
AuthorsEmailORCID
Alston, AUNSPECIFIEDUNSPECIFIED
Date : 15 December 2013
Uncontrolled Keywords : Immersive theatre, audience participation, One-on-one theatre, Politics of participation, Affect, risk perception, Lundahl and Seitl, Rotating in a Room of Images
Additional Information : Copyright Bloomsbury Methuen Drama 2013. This is the author's version; it is not the version of record, and should not be cited. Posted here with kind permission of the publisher.
Depositing User : Symplectic Elements
Date Deposited : 29 Jan 2016 12:13
Last Modified : 02 Feb 2016 15:11
URI: http://epubs.surrey.ac.uk/id/eprint/809772

Actions (login required)

View Item View Item

Downloads

Downloads per month over past year


Information about this web site

© The University of Surrey, Guildford, Surrey, GU2 7XH, United Kingdom.
+44 (0)1483 300800