비대면 이머시브 연극과 연결의 감각―앤드씨어터의 <극장을 팝니다>(2020)를 중심으로

Abstract

This study aims to investigate the strategy the non-face-to-face immersive theater used to draw the audience’s immersion and liveness, focusing on Geukjangeul-Pabnida(Theater on sale) and interaction with the audience. Geukjangeul-Pabnida(Theater on sale) continuously utters the personal memories of the guide, opens the secret space of the theater and creates intimacy and bond to the audience in the auditory environment created by the voice of the guide. At this time, as the audience embody the guide's behavior or recall their memories by the guide’s request, the meaning of the theater uttered by the guide expands to the audience. In addition, this performance allows the audience to recognize the public meaning of the theater in the process of experiencing the theater firsthand. For this purpose, the performance allows the audience to sense the ‘empty theater’ revealed as images of the ruins in the process of moving in the time gap with the performers, emphasizing the things that had been in this theater, those that are not in it, and those that will have to be in it. Geukjangeul-Pabnida(Theater on sale) allows the audience to recognize potential audience that exist in the same time and at a different place, emphasizing the audience’s individual experience in the form of one-person audience. This performance prevents the audience's theater experience from being trapped in a personal experience through a scene where the audience gathers. Through this method, this performance is expanding the audience's individual experience as a reason for publicity while thematicizing the connection between the audience and the performer, the theater and the citizen through the theater. However, since the sense of sharing and connection have been weakened, in which the audience watch or make the performance together, it is necessary to seek how to make latent audiences meet and how to connect the individualized audience.