Much theatrical work that calls itself ‘immersive’ uses tropes of the erotic to achieve its intended effects. In this article Rose Biggin identifies structural and performative strategies in the use of the erotic in this genre. What does it mean to identify the process of performed seduction as central to much immersive dramaturgy? Through readings of contemporary productions that draw upon (or appropriate) pre-existing erotically charged environments, the inevitable responsibilities for makers working in this context of immersion are considered, as is the importance of considering the consequences for those working in immersive spaces. Stress is laid on the crucial role that this form of performative labour often plays in immersive performance, and a continued recognition of its influence is emphasized. Rose Biggin is an independent scholar and theatre artist based in London. She received her PhD from the University of Exeter, researching audience immersion and the work of Punchdrunk, and both writes and makes work on gender, history, and language. She is author of Immersive Theatre and Audience Experience (2017).

中文翻译：

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沉浸式和互动表演中的诱惑劳动

许多自称为“身临其境”的戏剧作品都使用色情的比喻来达到预期的效果。在这篇文章中，Rose Biggin 确定了在这一流派中使用色情的结构和表演策略。将表演引诱的过程确定为沉浸式戏剧的核心是什么意思？通过阅读利用（或适当）预先存在的色情环境的当代作品，考虑到在这种沉浸式环境中工作的制造商不可避免的责任，以及考虑在沉浸式空间中工作的人的后果的重要性。强调这种形式的表演性劳动在沉浸式表演中经常发挥的关键作用，并强调对其影响的持续认识。Rose Biggin 是一位居住在伦敦的独立学者和戏剧艺术家。她在埃克塞特大学获得博士学位，研究观众沉浸感和 Punchdrunk 的作品，并在性别、历史和语言方面进行写作和创作。她是作者身临其境的剧院和观众体验（2017）。