b'Theorising Audiences the direction of consumer and producer, thus sup-porting this idea of performance for self. Alstons Holly Fawcett argument that Punchdrunk seem to prioritise self-consumption as a big part of engagement is Holly Fawcett offers responses to two critical approaches to audience participation. These were originally offered as part of acontroversial when considering the aims of the portfolio submission for the module Performance and Participation. company. Felix Barrett explains these aims in a recent interview with Marilina Borrallo (2019)in which he highlighted that the aim of Punch-The Audience as Consumer have no real purpose for us other than to retaindrunk is to heighten an individuals senses and some autonomy and feel more a part of the pro- level of perception in a space. Some people may In Caroline Heims 2015 book Audience as Perform- duction. argue with Alstons argument here as an audi-er, the author considers how the long-term pleas- ence receives pleasure from the new and exciting ure [of watching a performance] is gained throughEquivalently, another notable debate evoked fromimmersive experience the company offers, not by purchasing merchandise. Borrowing terminologythe chapter is whether the merchandise we buyindulging in themselves, but in the talent of the from economists and retail management, Heimis a step which enhances the experience of thea- performers around them. Alston addresses a clear argues that every audience member plays the roletre-going or if it merely sparks conversation afterdisclaimer for his opinion by acknowledging the of the consumer on some level and that contem- we have left the performance space. I would agreefact it is difficult to address the audience given porary audience members naturally search forthat buying products is a means of extending theits polyvalence (129), meaning there is some risk products to purchase that.extend their pleasurepleasure of the theatrical experience but doesin generalising about them. Nevertheless, this and stake their share of ownership in the culturalnot, however, subsume[s] all memories of theargument remains.product. In other words, Heim discusses how,production itself. Of course, there is potentiallyLater in the article Alston discusses some of the instead of attending a theatrical experience withsome sentimental value to items people buy but Iethical risks regarding immersive theatre. He the primary intention to observe and embrace thewould suggest that for some, it is purely tangibleexplains how, in most theatre productions in this moments of talent and spectacle, we, as a commu- proof that they attended in the first place. Thisstyle, audiences are faced with at least the threat nity have become obsessed with the aftermath ofis demonstrated in the quote re-performing theof being condemned to participate (130).In other performance and the trade and commerce whichexperience is the most potent when the souvenirwords, (for the most part) there is a distinct pres-is closely tied to that. is displayed to a friend (133). Overall, I thoughtsure on audience members to involve themselves Heims chapter highlighted some prevalent issuesin some way with the action in front of them For most of the piece, Heim assumes every audi- surrounding our reasoning for buying products inand some critics may argue that in this sense, ence member is somewhat unreceptive to perfor- theatres. the participatory aspect of the work is somewhat mance and largely fails to account for those whoextorted or forced. The lack of informed con-are not interested in material souvenirs. I wouldThe Immersed Audience sent in immersive works is a huge responsibility venture to say that, on the whole, elder gener- which Alston also touches on. He explains how ations have little to no interest in commercialIn his article Audience Participation and Neo- audience members who are not as comfortable products despite Heims assumptions. Certainly,liberal Value: Risk, Agency and Responsibility inwith the total lack of boundaries in this style are more and more people are playing up to the roleImmersive Theatre, Adam Alston reflects on theimplicated in a situation that is not fully at their of the consumer with their purchasing habitsdifficulties that often occur during the creatingcommand (130), leaving no room for autonomy. in the Box Office and, as Heim states, the pur- and performance of immersive theatre. AlstonThis point of view is similar to Aaron Vanek chaser of an item is actively engaged in trying togoes on to critique what immersive company,in his article Informed Consent for immersive maintain a sense of identity through the displayPunchdrunk, describe as audience empowermentEvents, 2019, where he states immersive par-of purchased goods. From this I understand that,by unveiling a much deeper political take on theirticipants should know how to clearly offer their similarly to popular clothing brands, there arecreative choices: immersive theatre also appeals. consent to the performers and how to revoke it. some universally recognisable items which canto narcissistic desire, a site of self-indulgence orThe problem with a participatory audience is that be bought in theatres which build self-esteem,even eroticism.all about you, the participantthe term safe is a subjective one, and it differs especially in musical theatre and Broadway. The(130). from person to person. The consensual nature of example Heim uses is the ethereal face of Cosetteimmersive works is lacking because catering to in Les Misrables on a t-shirt. I would argue thatAs addressed by other scholars, the primarythe comfort zones of each individual audience this sort of purchase from an audience memberattraction of immersive and participatory theatremember is a complex task. In the landscape of has the sole purpose of informing people theytends to be the independence and freedom giv- scholarly writings, Alstons argument here is have been to the production, not because its anen to the audience. However, Alston reminds uswidely shared.attractive or comfortable top. From this perspec- that this privilege turns our attention inwards tive, I agree with Heim that we, as a community,towards the experiencing self (130) and how the have begun to mindlessly consume products thatso-called productive participation could lean in 68 69'