One of the most unexpected outcomes of taking a new position was my new boss asking me if I was interested in attending Museums and the Web 2013. I’ve been going to MW as often as possible since the late ‘90s, and never fail to come away rejuvenated and full of new ideas. Most of the people I consider my closest professional peers are folks I first met at MW. So I said, “Yes, please!” and am counting down the days til I arrive in Portland.
I’m excited to attend for many reasons. This will be my first conference as an art museum professional so it’ll be interesting to see what sessions and speakers now seem valuable/relevant/important to me in my new role. I have a lot to learn, and I hope to take away a lot.
Museums and the Web is the bookend conference for the Museum Computer Network conference, and a great deal of planning and plotting will take place at MW2013 that will influence the shape of MCN2013. It’ll be great to be there for those conversations.
Since I wasn’t expecting to go this year, I paid no attention to the program until recently and therefore am not chairing a session, presenting a paper, running a workshop, etc. I can go and hang out and soak up the event, and that feels like a real gift. Thank you PEM, and Jim!
I didn’t get off completely scot-free, and that’s what this post is going to be about. I wrote some time ago about going to see Punchdrunk’s Sleep No More in NYC, as have others. It turns out the Diane Borger from Punchdrunk is going to give the closing plenary on immersive theatre and museums, and I was invited to join the panel with Diane, Seb Chan, and Suse Cairns! I am tremendously excited to be part of what could be an important community discussion and have been reading up on immersive theatre and thought it’d be worthwhile sharing some links for those who don’t yet know what immersive theatre and why it’s something museums might learn from.
Recent immersive theatre & museums articles
Diane Borger is the producer who brought Punchdrunk’s Sleep No More to the US in 2009 (http://www.americanrepertorytheater.org/events/show/sleep-no-more). After an extended, sold-out run, the immersive theater production moved to New York, where it continues to play today (http://sleepnomorenyc.com). Please join Diane and Punchdrunk’s many museum fans and critics for an inspiring discussion of what museums can learn from immersive theater led by Seb Chan, Ed Rodley and Suse Cairns. We are all sure to be transformed by the experience!
Mark Dion, ArtForum
In “Curator’s Office”, books, furniture, and personal effects do not reveal their collector’s taste or knowledge, but rather spin a fictive tale about a curator gone missing in the 1950s in a period of American anticommunist paranoia.
ht to Robin White Owen (@rocombo)
by Jamie Madigan
Though it is focused on videogames, I think most (if not all) of it is relevant to both immersive theatre and to museum experiences. The unpacking of immersion, or “presence” as its called in the psych literature I found very helpful.
ht to Suse Cairns (@shineslike)
By Chris Colin, New York Times
Perhaps the most extreme example of immersive theatre I’ve heard of yet; a production hand-crafted and personalized for an audience of one.
by Dan Hancox, The Guardian
Feeling nostalgic for the good old Soviet Union? Then head to Lithuania, where several theme parks let visitors feel exactly what it was like – right down to scary, abusive guards.
By Tara Burton, New Statesman
by Alice Jones, The Independent
Alice has been put on the spot by actors time and again – and she’s sick of it
by Miriam Gillinson, The Guardian
A useful little breakdown of how immersive theatre can let down their audiences.
by Mark Lawson, The Guardian
This example of site-specific and non-text-based theatre, Robert Wilson’s “Walking”, sounds amazing, and since it relies on the landscape, seems like it could have utility in a museum setting, where the setting itself is often an object to be interepreted.
Though a lot of immersive theatre seems to lean heavily on adult themes, this Young Tate performance, staged around Tate Liverpool’s “Alice in Wonderland” exhibition, goes more for a “darkly playful and absurd experience”, as it invites the audience to journey beyond the exhibition and through the looking glass.
Any other great examples I’ve missed? Let me know!