Chatzichristodoulou, Maria (2015) Blast Theory. In: Tomlin, Liz, (ed.) British Theatre Companies : 1995-2014 : Mind the Gap, Kneehigh Theatre, Suspect Culture, Stan's Café, Blast Theory, Punchdrunk. London, U.K. : Bloomsbury Methuen Drama. pp. 231-254. (British Theatre Companies : From Fringe to Mainstream) ISBN 9781408177280
Abstract
Whether seen as a theatre or performance group, an art ensemble that uses different methodological approaches including live performance, or a new media art company that creates works informed by cutting-edge technology, from the very outset Blast Theory has actively questioned, challenged and transgressed disciplinary boundaries, merging theatre, performance, interactive arts and gaming. Through its artistic practice, the company innovates by developing new models for active audience participation: using emergent technologies and interactive media in ways that have shaped the contemporary British and international cultural landscapes; exploring formats that merge practices and approaches; situating its work in unconventional or unexpected contexts; confronting audiences with tough questions and challenging demands; and, above all, being prepared to take risks. Though refusing to be defined as a theatre company, Blast Theory has certainly helped shape the contemporary theatre landscape in Britain and internationally by inspiring companies to experiment with participative practices, locative media, mobile interfaces, pervasive gaming and the creation of complex and layered immersive experiences.
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