The Lost
Theatre Without Walls
This section critiques the limitations of traditional theatre spaces and proposes that Wayfinder’s methodology operates beyond the proscenium arch. It draws on site-specific theatre, immersive installations, and interactive digital spaces, exploring how theatre can be liberated from its physical constraints.
- Forces audience agency by removing fixed stage boundaries.
- Encourages spatial storytelling, akin to gaming or escape rooms.
- Blurs the line between fictional narrative and real-world spaces.
NOT ALL THOSE WHO WANDER ARE LOST.
Which way will you go?
Footnotes & References
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Core Theoretical Foundations:
- Richard Schechner – Performance Studies: An Introduction (2002) – Theatre should expand beyond fixed spaces.
- Jerzy Grotowski – Towards a Poor Theatre (1968) – Argues that performance exists beyond spectacle.
- Mike Pearson – Site-Specific Performance (2010) – How theatre adapts to non-traditional spaces.
- Richard Schechner – Performance Studies: An Introduction (2002) – Theatre should expand beyond fixed spaces.
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Critical Debates and Counterarguments:
- Peter Brook – The Empty Space (1968) – While experimental, he still sees theatre as a defined space.
- Aristotle – Poetics – Theatre is rooted in structure, not boundless abstraction.
- Noël Carroll – The Philosophy of Horror (1990) – Argues that immersive theatre can alienate traditional audiences.
- Peter Brook – The Empty Space (1968) – While experimental, he still sees theatre as a defined space.
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Empirical Studies & Case Studies:
- Punchdrunk’s Sleep No More – Theatre as an explorable world, rather than a fixed performance.
- This Is Not A Game (ARGs) – The blurring of real and fictional spaces.
- The Drowned Man – An immersive piece that redefined audience participation in a freeform environment.
- Punchdrunk’s Sleep No More – Theatre as an explorable world, rather than a fixed performance.
