Immersive staging physically reoriented spectators into a clambering, exposed position

Evidence

As with Dionysus, there was no proscenium although there was a “rolling, rippling stage—used to simulate hills, and seas, a burial ditch in Vietnam.” Spectators scaled ladders to perch on narrow, multi-level wooden platforms that struck one participant as “a child’s climbing gym.” Even more than in Dionysus, the audience was encouraged—and even forced—to participate. “One is expected to leave a topcoat on the second floor, then stand in a long line on Wooster Street before being admitted to the auditorium, five at a time,” wrote the critic for the soon to fold Newark Evening News. — J. Hoberman, Everything Is Now, 1668

Categorization

• XREF: connects to: Spectatorship itself becomes a life-or-death determinant — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 683; Concealment by proximity links stage magic to tender intimate perception — Mark Fisher, Ghosts of My Life: Writings on…, 411; Web spectatorship differs from cinema in being tactile grabbing rather than gaze — Theresa M. Senft, Camgirls: Celebrity and Community in…, 324 (+1 more)