ABSTRACT Immersive theatres have emerged since the turn of the millennium as a popular form of performance. Intricate and elaborate, they interweave playfulness into the relationship between performer, audience, and performance space. Discussion of immersive theatres has largely focussed on a selection of urban theatre companies who have acquired reputations as the forerunners in the field. On the periphery, other practitioners and companies have been developing immersive methodologies within theatre that are, as yet, largely undocumented within this scholarship. This paper contributes to the widening of this discussion by considering the work of Iwan Brioc and his sensory labyrinth theatre (s.l.t). It explores s.l.t within the context of North Wales, referencing its influences from Columbian theatre director Enrique Vargas’s work on the ‘poetics of the senses’. In doing so, it expands the current conceptualisation of immersive theatres, and in broadening the work being examined within this field, focuses on the transformative potential of the work discussed

中文翻译：

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在沉浸式剧院的历史中定位感官迷宫剧院

摘要 自世纪之交以来，沉浸式剧院已成为一种流行的表演形式。它们错综复杂，将趣味性融入表演者、观众和表演空间之间的关系中。对沉浸式剧院的讨论主要集中在一些城市剧院公司上，这些公司在该领域享有先河的声誉。在外围，其他从业者和公司一直在剧院内开发沉浸式方法，但在该奖学金中基本上没有记录。本文通过考虑 Iwan Brioc 和他的感官迷宫剧院 (slt) 的工作，有助于扩大这一讨论。它在北威尔士的背景下探索了 slt，引用了哥伦比亚戏剧导演恩里克·瓦加斯 (Enrique Vargas) 对“感官诗学”的影响。在此过程中，它扩展了沉浸式剧院的当前概念，并扩大了该领域内正在审查的工作，重点关注所讨论工作的变革潜力