Fandom and Punchdrunk’s Sleep No More

Audience Ethnography of Immersive Dance Julia M. Ritter

As I approach the McKittrick Hotel on 27th Street in New York City, the venue for Punch­ drunk’s immersive Macbeth-inspired production of Sleep No More, the scene outside resem­ bles a nightclub queue — people waiting for entry, chatting excitedly. Upon entering, we all go through the same routine: checking coats and bags, and paying for admittance. The ticket is a playing card and each person gets a different suit at random — heart, diamond, spade, club. We are directed to a dimly lit staircase and climb quietly, minds and bodies focused on mounting each step safely. The darkness deepens as we reach the landing and enter a pitch-black corridor­

Julia M. Ritter is Chair and Artistic Director for the Dance Department at Mason Gross School of the Arts, Rutgers University. She completed her PhD in Dance at Texas Woman’s University and has received two awards for her research on dance and immersive performance, including the 2016 Cohen Lecture Award from the Selma Jeanne Cohen Fund for International Scholarship on Dance (USA), and the 2014 Prix André G. Bourassa for Creative Research from Le Société Québécoise D’Etudes Théâtrales (Canada). She is the recipient of three Fulbright awards for her choreographic projects in Europe. [email protected]

TDR: The Drama Review 61:4 (T236) Winter 2017. ©2017 New York University and the Massachusetts Institute of Technology 59

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60 Julia M. Ritter as hedid, feelingthemetalechorhythmicallyupmyarm. getting closesoIlagbehind, walkingslowlydownthealley draggingmyhandalongtheridges to createadeafeningnoise. A largecrowdofspectators followingMacbethpreventsmefrom leading awayfromthemainstreet, dragginghishands along theridgesofitscorrugatedtinwalls another manIintuitisMacbethapproaches, hishands bloodied. Hedisappearsdownanalley in thenarrowspace. I’mpushedoutoftheinterrogation roomandbackontothemainstreetas limbs slicingtheairastheyskillfullydodgelightfixtureswinging violentlybackandforth the maninchair. Itisaninterrogation;onedancerconfrontswhiletheotherdeflects, their my handpushesmefirmlyagainstthewallwithonearmwhilelashingouthisotherat one wallandamaleperformersitsinchairatthecenterofroom. The manwhograbbed leads meintoasmallroomadjacenttothedetective’soffice. Threeotherspectatorsstandagainst I pauseandconsiderfollowingthemwhenanotherperformerappears;hetakesmyhand 1930s-style gowncroonsfromthestage. aret, upholsteredinredvelvet, cheekybartendersprovidedrinksandasingerinanalluring, break throughthebalefulmusicandanewrealityemerges. Inacrampedandbustlingcab ered insoftfabric. Justasthecorridorfeelsinterminable, thesoundsofaspiritedjazzcombo find lightandmybodyslowsdownfurtherasIreachoutforguidancewallscov that twistsandturnssharply;theportentoussoundscapeisforeboding. Myeyesstruggleto © 2015) that heisaperformer, Ipullbacksharplyfromthewindow;amnotreadytobeseen. watching him, hisgazeallthemoreintensenowthatIamexpectingittobemasked. Realizing ing overthecounterstitchinganitem. Heliftshisunmaskedfacefromtaskandcatchesme I peerinsidetheatelierandseedioramicsceneanimatedbyasharplydressedmanlean­ a sweetshop, ataxidermist’sstudio, afuneralparlor, adetective’soffice, andatailor’satelier. cover amainstreetconstructedinsidethevastformernightclub, linedwithderelictbusinesses: thetic andemotionalurgetoreturnwhereIstartedmakesenseofmyselfinthisspace. Idis­ other endwhereIfindastaircase. Ifollowmyinstincttogodownthestairs, trustingthekines­ panic, thehostess’sinstructionscomebacktome:keepmaskon, don’tspeak, bebold. spectators back;astheelevatordoorcloses, Iamleftaloneinthedarkness. Amidst awaveof stop theoperatormotionstomestepout. As Iturnaroundseehehasheldtherestof ascends, headvisesusthatthisjourneyisbestundertakenalone. When theelevatorjerkstoa tor opens. A dapperelevatoroperatorinvitesusinwithawinkandnod, andastheelevator the bold. The hostesspausesdramatically, thenslapsthewallandinstantaneouslyaneleva­ not speak;(3)dousemobilephones;(4)thingsareastheyseem;and(5)fortunefavors statements, thefirstthreeofwhichareinstructions:(1)keepyourmaskonatalltimes;(2)do small room. Here, ahostessdistributeswhitemasktoeachspectatorasshearticulatesfive card playing cardinourhands;spectatorsareseparatedintogroupsaccordingtothesuitoftheir seductively askeachtoshowtheircards. With thiscoyrequest, welearntherelevanceof Figure 1. (previous page) ner andIseetheLordLady ofthehousetusslingontopabookcase. Adjacent tothese the familyquartersofMacduff family, whichexudesdomestictranquilityuntilIturn acor physical andintricatelychoreographed scenefeaturingnudity, blood, andstrobe lights. Ifind dust coveringunusedbottles, Macbeth receivesaprophecyfromthethreewitchesinwildly their gazeandtemptingustocomecloser;witches, Ipresume. Later, inanabandonedbarwith smooth, greensurface, theymakeeyecontactwitheach spectator intheroom, beguiling uswith woman performasensuousduetontopofpooltable. As theyembraceandtumbleacrossthe Turning awayfromtheelevator, Imakemy waydownadarkhallwaytowardlightatthe In thisdiminutivepleasureden, attractivehostsandhostessessidleuptospectators I continuetowanderandstumbleuponsceneafterscene. Inaspeakeasy, amanand I movedownthestreetandagroupofspectatorspassesme, headedintheoppositedirection. — hearts anddiamondsinonegroup, spadesandclubsinanother Bald Witch. Digital illustration by Clay Rodery. of Clay (PhotoRodery courtesy — and usheredintoa ­ ­ ­ Sleep No More Fandom 61 ­ ­ ­ ­ This however, however, 17th-century (Ritter 2015). 2015). (Ritter Tangence Revue the films of Alfred Hitchcock (specifically the films of spectators as ethnographers with their participation their with ethnographers as spectators in can be While every spectator of Sleep No More 1 Sleep No More More No Sleep , two terms I mention in an articlean in mention I terms two intentional, in [1958]), and the lesser known yet true story of the late-­­­ [1958]), . intentional ethnographers and incidental and mashup of Shakespeare’s Macbeth, which they were doing by returning multiple times and documenting their work online, thus leading to to thus leading online, work their documenting and times multiple returning by doing were they which

— Vertigo [1940] and Vertigo

In this essay, I am merging the idea of idea the am merging I essay, this In Spectators embark on an improvisational odyssey by using the instructions put forth by the Spectators embark on an improvisational , created by the UK-based , to Sleep No More During this first visit as a spectator in 2012 I attempt to follow Lady Macbeth but lose her. I dash after other dancers as they inter Macbeth but lose her. I attempt to follow Lady When writing that article, I did not recognize the extent to which spectators were engaging in ongoing “field- ongoing in engaging were spectators which to extent the article,that writing When recognize not did I work” ethnographers. as them of conceptualization my the production as production the 1. Rebecca trial and execution of the seven “Paisley Witches” in Scotland is designed to envelope its par in Witches” “Paisley trial and execution of the seven ately disregarding the instructions, there is no right or wrong way to experience SNM; specta­ there ately disregarding the instructions, paths through tors learn that different choices yield different outcomes as they create their own spectators When navigating the detailed installation environments, the three-hour performance. scenes practice participant observation as they choose how and when to observe the dancers’ I understand them and negotiate interactions with them and other spectators; for this reason, as both incidental hostess and wearing the masks that stand in for the absent fourth wall. Other than deliber hostess and wearing the masks that stand in for the absent fourth wall. Punchdrunk company, my mask became a tool for anonymity and the hostess’s instructions my mask became Punchdrunk company, The term spectator, theatrical terrain. guided my movement through this unknown . attend each performance of Sleep No More does not accurately characterize those who postdramatic

tions and resourcefulness to discover multiple narratives, which are woven into the dancing which are woven into narratives, tions and resourcefulness to discover multiple and the hyperrealistic scenography. ticipant observers in a seemingly endless journey. And it is enacted solely through movement. movement. And it is enacted solely through journey. ticipant observers in a seemingly endless Punchdrunk (SNM) through choreography rather than text, By presenting Sleep No More 400 spectators are encouraged to use their imagina establishes a fluid space in which up to ­ unnerved by the pre I am like dirt. and stale and smelling its air cold a graveyard, quarters is I the courage to be bold. trying to summon at the edge, aura of death and I hesitate ternatural me I allow them to pass spectators arrive, real; when other at my fear but it feels am surprised ­ other spectators watch join 50 We midst. feeling safer in their closely behind, but then follow She flirts while dressing in a bedroom. romance one another and Lady Macbeth ing Macbeth stands and falls backwards Lady Macbeth Rolling to the edge, her onto the bed. and he tackles head passes just inches from the who swings her body in an arc so her into Macbeth’s arms, press against each other while careening Their passionate seduction continues as they floor. The and the bed. a bathtub, a chest of drawers, rebounding off the walls, around the room and splits, and the crowd in different directions, disappearing of one another, Macbeths take leave other. following one or the sect my path and each of these divagations further tangles my sense of the space and time. I sense of the space and time. of these divagations further tangles my sect my path and each trees bathed in a pale blue see what looks like a dense forest of leafless climb a staircase and from the drama of the scenes twilight in late autumn and provides respite It resembles light. to move through the trees; I real­ The calm dissipates however as I try I’ve just encountered. I make and reaching dead ends. going in circles find myself doubling back, ize it is a maze and I past the Walking the sterility of which is haunting. my way out of the maze into a sanatorium, I am startled when I feel a hand on my shoul­ neatly lined rows of hospital beds and bathtubs of the sanatorium and down a staircase to a ball­ der; a nurse has found me and leads me out us both to She encircles my waist with one arm and pulls me close to her as she positions room. witness we Together moving in exquisite slow motion. watch dancers seated at a banquet table, The nurse grips my and organize his execution. the guests at the banquet turn against Macbeth turns me around She as Macbeth meets his fate. waist tightly and buries her face in my shoulder the cabaret. and sends me out a door leading back into Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02October 2021

62 Julia M. Ritter the UKthroughatheatricalapproachtotransforminglarge-scalearchitecturalsitesintoseem are the spectatorsmostlydonotaffectdancers’performance, theirpresenceandengagement raphies” thatrevealtheimpactofdanceandimmersiveexperienceonspectators. While through onlineblogs, contributingknowledgeabouttheproductionthrough “visual ethnog has formedaroundtheproductionwhereinindividualsprocessanddocumenttheirexperiences understood asanethnographermakingherownchoicesanddiscoveries, adynamiccommunity and BeatriceMinns, premieredSleepNoMore inLondoncollaborationwith most notablyassociatedirectorandchoreographerMaxineDoyle, anddesignersLivi Vaughan British and American culture(inDoyleetal. 2012:4). In2003, Barrettandhiscollaborators, ments” andhassinceexploredacomplexintermixtureofclassicliteraturemid-20th-­ primarily interestedin “deconstructing classictextsandlayeringtheseelementsintoenviron ingly endlessworldsthatserveasperformancespaces. When foundingPunchdrunk, Barrettwas during performances. details ofwhicharebestleftundisclosedforspectatorswhowish todiscoverthesemoments nishings oftheroom. There aremanysecretssuchasthis thatonlythesettingitselfreveals, the future byappearingtoreflectasceneofhorrorthatisinfact notactuallythereamongthefur who glanceinamirrorthechildren’snurserywillfindithas thepowertoforeshadow When exploringtheplacidinteriorsofMacdufffamilyquarters, forexample, spectators floors, andobjectsitcontainsevokeprovokebyrevealing secretsinunexpectedplaces. closing informationatitsowndiscretion. As spectators travelthroughthebuilding, therooms, dom isthat “the hotelknows,” suggestingthat thiscomplexlabyrinthiswithholdinganddis­ School Punchdrunk restagedSleepNoMore in2009BostonforalimitedruntheOldLincoln music, installationart, andfilm. Collaboratingfirstwiththe AmericanRepertory Theater, broad rangeofinterestsbymergingmyriadartisticdisciplines, amongthemdance, theatre, drunk decidedtorevisitSleepNoMore and carefullydesignedtheproductiontoappeala former BatterseaOld Town Hall, builtin1893. the RedDeath(2007/08), whichsituatedEdgar Allan Poe’sclassictaleswithintheconfinesof in EastLondon, reconfiguredasasmall Americantowninthe1950s;aswellTheMasqueof in whichGoethe’smasterworkplaysoutwithinthevast150,000-squarefootformerwarehouse The Firebird intheabandonedOffley Works factoryinSouthLondon;andtheirFaust (2006/07), sequent works, including:TheFirebird Ball(2005),Romeo &Juliet acollisionof andStravinsky’s ued torefinetheirunderstandingofhowspacecanbeusedimmersespectatorsinsub­ a massiveplayer[...;]thebuildingisprobablybiggestperformer” (5). Punchdrunkcontin­ acter orserveasblankcanvasesfortheirfantasticworlds. As Doyleexplains, “the buildingis school. Fromthebeginning, Punchdrunkhassearchedforspacesthateitherhavedistinctchar Center, stagingtheproductionincrumbling Victorian BeaufoyBuilding, aformerboys’ sion in2011, workingwiththeNY McKittrick, referencingHitchcock’sVertigo . over 100roomsofaseriesformerChelseawarehousesintothefictionalhotelknownas tional environmentsofthework for Punchdrunk, thecreatedopportunitiestofreelyandvisiblyexploreexperiencefic­ 2. The McKittrickHotelfunctionsasastoryteller;commonadage amongtheSNMfan­ Expanding uponknowledgegainedfromtheirproductionsbetween2005and2008, Punch­ extraordinary places; extraordinary Hochwald, Karpati, and Randy Arthur Weiner founded Emursive in 2010 to produce immersive theatre in nightclubs, including Sound Factory (1989–1995), Twilo (1995–2001), and B.E.D. (2004–2007). Jonathan The venue is located at 530 West 27th Street in New York City and was previously the site of several notable Felix Barrett, artisticdirectorandfounderofPunchdrunk, beganpresentingworksin2000 essential — the siteofanotherdefunctschoolforboys. They premieredtheNew York Cityver to Punchdrunk’sstatedmission, whichsituatesaudienceparticipation Sleep No More was Emursive’s first production. — -based EmursiveProductionstoreinventsixfloorsand as acentralfeatureofperformance. 2

the Battersea Arts the — specifically century ­ ­ ­ ­ ­ ­ Sleep No More Fandom 63 ­ ­ including the which makes — beyond the choreographed scenes and the individual journeys of of journeys individual the and scenes choreographed the beyond — a dancer will sometimes find a spectator occupying a piece of — their individual journeys that are partially improvised and partially their individual journeys that are partially

— 3 designed by Barrett and Doyle to facilitate immersion for audiences. During one-on-ones, individual individual one-on-ones, audiences. During for immersion facilitate to Doyle and Barrett by designed —

spectators performances, interactive doors. closed usually behind private, for dancers by selected are spectators Extensive discussion of the one-on-ones (known by fans as 1:1s) is beyond the scope of this article yet it is impor- articleis this it of scope the yet beyond is 1:1s) as fans by (known one-on-ones the of discussion Extensive structure third the are they that note to tant The building functions as a kind of Scheherazade; its very structure is designed to keep the very structure is designed of Scheherazade; its functions as a kind The building the SNM narrative shifts shifts her storytelling from author to author, Just as Scheherazade In many ways, Punchdrunk’s deconstruction of classic texts across sites exoticizes the deconstruction of classic texts Punchdrunk’s In many ways, dance structures that enable dancers and spec­ Barrett and Doyle established two distinct During these scenes, the boundaries between the improvised journeys of the spectators and the boundaries between During these scenes, 3. spectators in suspense as they discover bits of fractured narrative on their journey throughout journey throughout narrative on their bits of fractured in suspense as they discover spectators ­ makes the narra scenography of the building the storytellers, Like all masterful the landscape. Fans it. and living it, smelling it: feeling it, They are absorbed by for spectators. tive palpable in the performance experience of time and their no edges, McKittrick as having speak of the Scheherazade turned is analogous to how sense of endlessness and ongoing; this as continuous storytelling. evening with the sultan into years of limitless what was to be her last performed by one dancer and spectators may be following a narrative from dancer to dancer: Spectators follow the dancers yet by another with a different story. find themselves intercepted the dancers must per due to the tightly crafted loops of choreography often lose sight of them form precisely to advance each performance. Whenever spectators lose sight of a dancer they Whenever spectators each performance. form precisely to advance environment as a source of inter they can turn their attention back to the have been following, numerous to count yet all inextricably and other ephemera too letters, exploring the books, est, Witches. the Paisley and the Hitchcock films, Macbeth, linked to themes from and mysterious foreign, productions make familiar stories strange, Their canon. Western the creation of environments where spectators live through the transformation of spaces and engaging in intimate experiences with them and their surroundings. alongside performers, The first of these . participate in Sleep No More and affectively physically, tators to cognitively, performed by dancers; the other is the movement structures is the choreographed scenes, that spectators perform to describe the sequence of individual, Doyle uses the term track orchestrated by the dancers. and spectators encounter (Ritter 2015:59). choreographed scenes that each dancer performs scenes in states the production unfolds through 11 While the official program of Sleep No More perform­ in Doyle’s choreographic version of the Macbeth story there are 23 characters 5 acts, The the building during each performance. ing dozens of scenes simultaneously throughout are performed sequentially throughout the eve­ major scenes of the play cited in the program the Sexy Witch, (known by SNM fans as the Bald ning: Macbeth meeting the three witches murder King Duncan; Lady Lady Macbeth persuading Macbeth to Witch); and the Boy Witch, receiving a second series of proph­ hands; Macbeth Macbeth washing the blood off Macbeth’s Banquo and Banquo’s ghost appearing at the royal esies from the witches; Macbeth murdering fol­ and Lady Macbeth descending into madness, banquet; Macbeth murdering Lady Macduff; including alongside these major events are scenes, Yet lowed by Macduff executing Macbeth. that communicate the subtexts Punchdrunk has created by merging one-on-one performances, Witch story to design the deeply com­ and the Paisley Shakespeare’s text with Hitchcock’s films plex and layered world. the tracks of the dancers can easily become blurred. For their part, the dancers must take the For their part, the tracks of the dancers can easily become blurred. spectators into account without interrupting the reimagined world of Macbeth, both the dancers and the spectators the seers and the seen while they play their specific roles. roles. both the dancers and the spectators the seers and the seen while they play their specific Because spectators are given access to the furniture throughout the building and bookcases that dining tables, the numerous chairs, as well as Macbeths’ matrimonial bed, constitute the mise-en-scène

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64 Julia M. Ritter each halfofthebodyindependently. half,” apracticethatinvolvesdancerbeingawareoftheverticalmidlinebodyandusing use theirbilateralknowledgeofbodiestogreateffectbyapplyingtheconcept “body- tators tocommunicatethattheyneedmoveasidecreatespaceforthescene. Dancersalso out, andslowlyextendsherarmsouttoeachsideasshewalksbackwardsintoacrowdofspec­ by Doyle:adancerpreparingtoperformsceneplacesherhandsonlowerback, palms ways ofclearingtheirspacebeforetheybegin” (Doyle2013:7). I’vewitnessedthisexamplecited nals totheaudiencemove need toperform. Sheexplainsthat, “the dancershavemanyphysicalstrategieswhicharesig­ visation skillsspecificallyfortransitioningspectatorssafelyawayfromwhereandwhatdancers furniture thatthedancerneedstouseperform. Doyleworkswiththedancerstobuildimpro­

implicating themintheperformance. Insodoing, Punchdrunkhasestablishedconditions that More. BarrettandDoylesituatespectatorsasethnographers byphysicallyembeddingand than predetermined, itisnonethelesschoreographedby theimmersivestructureofSleepNo of spectatorsintheballroomtowitnessMacbeth’sdemise. end ofperformances, asthespaceseemstocloseinonitself stewardsmanagethegathering tators todifferentlocationsthroughouttheperformance. This isparticularlytruetowardsthe spectators byenablinganddisablingaccesstospacesinthebuilding, essentiallyreroutingspec­ may stepintoassistaperformerbyguidingspectatorsawayfrom criticalareasandalsodirect as “stewards,” oneachfloortoalsomanageand directthemovementsofspectators. Stewards important tonotethatPunchdrunksituatesdiscreetlyhidden staffwearingblackmasks, known with Macbeth’sracingheartbeatintheaftermathofmurder. ing onthatmomentlater, Iassociatedthepoundingsoundandrepetitiverhythmof ridges touched thewallsinalleyleadingawayfrommainstreetbecauseMacbethdid;reflect­ tactile feedbackbyengagingdirectlywiththescenographicelements. Forexample, Ionly a spectator’sattentiontowardparticularobjectsinthespaceandthusencouragethemtogather drawers. Lastly, therearemomentswhenachoreographedglancebyperformermightdirect the prescribedrouteofchoreographyacrossbed, overthebathtub, andontoachestof tors andoneanother, movingswiftlyanddeliberatelytoharnessenoughmomentum tofollow terbalances, andintegratesthefurnitureaswell. The dancersmakeeyecontactwiththespecta­ successfully andsafelyperformthestrenuouschoreographythatinvolveslifts, falls, andcoun­ the bedroommustbeacutelyawareofthemselvesandspectatorsaroundtheminorderto (in Doyleet al. 2012:15). Forinstance, thedancersperformingMacbethandLadyin them. You areconstantlyhavingtoworkwiththeaudienceandgettingveryexcitedbythat” and thenonedaysomeoneisstandingthereyou’reperformingthewholedancearound audience. You mighthaveachoreographythatyouknowandcandoitmilliontimes reography whileincloseproximitytospectators: “You’re constantlyhavingtonegotiatethe rapher forSleepNoMore ,­ describeshisunderstandingofhowdancersmustperformthecho the interrogation. formance. Although Iwasthereasanobserver, hisphysicalcontactmademefeel complicitin kept meoutofharm’swayandthespacehehisfellowdancerneededfortheirper phy whileusingtheotherhalfofhisbodytosituatemesafelyagainstwall. Insodoing, he dancer wholedmeindedicatedonehalfofhisbodytothetaskperformingchoreogra­ 4. While themovementperformedbyspectatorsis, forthe mostpart, improvisationalrather While dancershavestrategiestomanagethespacesinwhichtheyneedperform, itis Conor Doyle, whooriginatedtheroleofBoy Witch andservesasassociatechoreog­ (see LIMS 2009). ment with Laban’s theories to create a method of movement education now called Bartenieff Fundamentals (BF) founder of Laban Movement Analysis. Bartenieff, a physical therapist, integrated principles of human develop- The concept of body-half was established by Irmgard (1900–1981), a student ofBartenieff Rudolf Laban, — like walkingbackwardsslowlysothecrowdsclear 4 Forexample, intheinterrogationsceneIexperienced, the — and other ­ Sleep No More Fandom 65 ­

5 ­ allow them to — the incidental and intentional the incidental — what they select to see, whom they what they select to see, — - pre Punchdrunk York, New of metropolis large the in enjoyed has More No Sleep ­ for conducting partici their parameters instructions become the hostess’s —

Drawing upon the success the upon Drawing Live, SMG with Collaborating 2016. December in China, Shanghai, in production the of newa version miered in organizations cultural and media largest of the one Group, Media performance Shanghai live of the arm As sociologist Kathy Charmaz writes, “What should an ethnographer study in the field? As sociologist Kathy Charmaz writes, they are not moving at normal pace and want to slow the audience down so that We they tune into the tempo of the piece and are able to This way, missing everything [...]. but the The scenes and performers are important experience its layers of complexity. (2015; empha­ through the space. impact of the work comes from the way everyone moves sis per speaker) the com­ While many of Punchdrunk’s productions have garnered accolades and awards, 5.

pant observation. Punchdrunk has a variety of choreographic strategies to mobilize specta­ strategies has a variety of choreographic Punchdrunk pant observation. First, it occurs. spaces in the hotel where and the particular the performance tors to discover the dancers must travel choreography of the characters they perform, in order to fulfill the to different locations in the at full speed along predetermined routes quickly; they often run Dancers use the cho­ to follow. with a desire to see the scenes have and spectators building, or to follow them to the next scene, to cue spectators to come closer, reographed eye contact spec­ occurring around them, While observing everything step aside. to indicate they should they will see other spectators, following a particular performer or tators learn that by actively their understanding of the over which will augment and expand scenes, a greater number of ­ethnographers and are compelled to follow those discover or intersect with dancers Spectators all performance. I could have of the interrogation room, When thrust out for whatever reason. who attract them, roles of Malcolm and Macduff. who I later learned were performing the followed the dancers I was drawn to follow speed, bloodied and moving at breakneck as Macbeth approached, Yet Mobilized by the movements of Macbeth as per him instead as he disappeared down the alley. by following I too became part of the choreography formed that evening by Paul Zivkovich, spectators make The choices the crowd trailing Macbeth. how they express their body language and behavior where they stand, follow, of the work. become elements in the fluid environment and people in it, By remaining open to the setting and the actions Whatever is happening there. from the ground up and to pursue whatever they ethnographers have the opportunity to work Spectators conduct bodily ethnography through (2006:21). find to be of the greatest interest” Not expected their impulses during performances. the movement they perform while following in a spectators must nonetheless involve themselves or required to perform the dance language, movement expe­ their Thus, in the performance. bodily experience to fully immerse themselves them is a primary ethnographic tool for collect­ rience and their awareness of the action around being being lost, climbing stairs, Running, ing their data and making meaning of performances. smelling the atmo­ and touching the scenery, in close proximity to dancers and other spectators, this performance that serves as the realm of their sphere are the ways they make meaning from bodily aware­ By taking time to explore the space and observe through kinesthetic and research. they spectators begin to understand the environment ness their actions and those of others, explains: Barrett participant observation. temporarily inhabit as ethnographers practicing spectators become implicated in the prac­ As they move through space and the scenes within it, world of gaining greater access to the inner dancers, tices and customs of their Sleep No More the performance. is exceptional. version of Sleep No More York mercial success and critical acclaim of the New ­ itself to the devel a form that lends dance, nature of the abstract and interpretive capitalize on Because responses to performances. by fans in their imaginative interpretations opment of a research site for spectators space serves as the performance Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02October 2021

66 Julia M. Ritter

dence ofnumerousindividualsattendingmultipletimes. return visits, thediscoveryoffancommunity, orfandom, devotedtoSNMprovidesevi­ Ritter 2016). ates andperpetuatesitselfthroughbehavioralresponsesofrepeating, sharing, andcreating useful inrelationtoimmersiveperformanceasanonsequential, recursiveprocessthatregener behaviors aroundimmersiveperformance. The conceptofextendedaudiencingisespecially ing towards media” (2005:196). Acknowledging Couldry’sprecedent, Idefineextendedaudienc­ examine the “whole spectrumoftalk, action, andthoughtthatdrawsonmedia, orisoriented critic andmediascholarNickCouldryintroducedtheterm “extended audience,” applyingitto media, then, isentwinedwithcreatingnetworksamongmembers” (Fisher2015:63). Cultural connects withotheraudiencemembers, becoming, infact, theiraudience. Audiencing onsocial (353). Similarly, sociologistEranFisherlatercommentedthat, “audiencing beginswhenone the “process ofproducing, throughlivedexperience[...,]socialidentitiesandrelations” because ofsharedinterestsinparticulartelevisionshows, andasaterm, “audiencing” reflects encing issomethingthatdoneinrelationtoothers, suchasgroupsofpeoplecomingtogether circulation ofmeaningsand[...] ‘audiencing’ ispartofthatprocess” (1992:345). ForFiske, audi­ consumption ofpopulartelevision, arguingthat “culture isacontinuousprocessofthesocial term “audiencing” asaverbin1992whenwritingfromculturalstudiesperspectiveaboutthe ditional liveperformancesettings. are freedfromlinearityofnarrativeandthephysicalimmobility encounteredinmoretra­ is simultaneityofactionthroughouttheperformancevenueand spectatorsexploreatwill, they compiled (seebehindawhitemask2012). generated somanyonlinefanblogsdevotedtotheproductionthatablogdirectoryhasbeen cultural products. Locatedprimarilyonthesocialnetworkingsite Tumblr, theSNMfandomhas of embodiedparticipationanddancespectatorship ual journeys, thentransfertheirchoreographed andethnographed information. Fanscreatetheirownmeaningintherealtimeofperformanceviaindivid­ to moreinformationabouttheperformanceandbothelaborationsreinventionsofthat ration fortheirindividualcreations;theywanttoengageinonlinesharing cess Iunderstandandidentifyas “extended audiencing.” perceptions throughface-toconversations, inprintmedia, andthroughsocialmedia, apro­ formances aweek. ImportanttothesuccessofSleepNoMore isthewayspectatorssharetheir 2,000 timesandseenbyhundredsofthousandspeople, andcontinuestooffereightper Special CitationforDesignandChoreographyin2011, theworkhasbeenperformedover Receiving bothaDramaDesk Award forUnique Theatrical ExperienceandtheObie Awards’ 6. dancer performingMacbethmayexperienceasequentialstoryline similartoShakespeare’s 8. 7. on blogs and websites. Information regarding fan experience was gathered with spectators who posted from various blogs and interviews that approximately 25 percent of spectators return. tators could not be shared. However, I was told by members of the fandom that there is an “unofficial estimate” I was informed by the plexities of this phenomenon emerging specifically from immersive performance. extended audiencing by including the voices of fans and of artwork ogy While Iwasunabletoobtainconcretedataonthepercentageofspectatorswhomake Returning attendeesIinterviewedhaddiverseagendasforrepeatedviewing;becausethere Extended audiencing is a term I developed during my research into of the McKittrick. China, Punchdrunk in the Jing’an a former factory converted district into the McKinnon Hotel, the sister hotel as anagentive, multiprongedphenomenonthatmanifestsinvariousformsofactionsand Reframing Immersive Theatre SNM company manager that information about the percentage of return visits by spec- (Ritter 2016). In the present essay, I expand significantly upon my concept of 8 Although itispossiblethatspectatorswhofollowonlythe — through thecreationofpostperformance 6 7 MediascholarJohnFiskecoinedthe Often, fansreturntogainmoreinspi­ Sleep No More Sleep No More in order to explore the com - hi accounts experiences —their for a chapter in the anthol- that ultimatelyleads ­ (see ­ Sleep No More Fandom 67 ­ free” tips -free” generation with the blogs we’ve tried to and offered “spoiler and offered — — under the name “readwithjoy” in 2013, and esti­ in 2013, “readwithjoy” under the name individuals who have invested thousands of dollars of personal individuals who have invested thousands the ephemeral moments, the smell, the performers touching you, and getting the performers touching you, the smell, the ephemeral moments, —

photos, media, critical reviews, fan art, and comments fan art, critical reviews, media, photos,

— text-driven in the form of descriptive fieldnotes begins SNM in the form of descriptive fieldnotes begins While my experiences of my first visit to acter is coming from, and I know where a character is going. (Anderson 2017) and I know where a character is going. acter is coming from, the one answer that I give to people when they ask, “Why do you go so much?” is that do you go so much?” “Why give to people when they ask, the one answer that I and , of Sleep No More I’ve seen 130 performances show twice. I’ve never seen the same of text and intention There’s this juxtaposition not one of them has ever been the same. unique to immersive theatre and in my opinion, and audience that’s just fascinating and, to me as a literary theorist and educator. immersive dance in ways that are just fascinating I’m able to experi­ I move in a particular way, I know if I stand in a particular space or if they so not to lose the performers when to see, ence parts of the performance that I hope I know the choreography; I know where a char At any particular moment, move quickly. mates she has created approximately 450 posts specifically about the production. posts specifically about the production. mates she has created approximately 450 within this fandom whose fieldnotes (known Anderson, such as there are many fans, this essay, -­ These spectators are the first “recaps”) are far more comprehensive than mine. as She goes on to say: “immersive theatre as a genre is still being defined but it is hard for me to “immersive theatre as a genre is still being defined but it is hard She goes on to say: in immersive The intimacy of dance in some way. imagine that definition not including dance (Anderson from proscenium dance performance” space is such a beautiful thing and so different SNM Anderson started blogging about 2017). For exam­ of the McKittrick over the past six years. income and copious time visiting the site is a former doctoral first attended SNM in May 2011, who fans like Evan Matthew Cobb, ple, the produc­ Cobb saw to corporate relations. student in literature who made a career change tion over 80 times and is credited by members of the SNM fandom as the creator of the first August 2011, in Tumblr Cobb launched his blog on production. York blog devoted to the New and ” Sleep No More “one-stop shopping for news and info about with the intention of providing to reference a line uttered by Macbeth to Snake” “They Have Scorched the gave it the title He reblogged everything he could Lady Macbeth in Shakespeare’s original text (Cobb 2017). find Anderson acknowledges that she is now strategic in return visits, choreographing herself during choreographing in return visits, Anderson acknowledges that she is now strategic the performance to witness specific scenes: , bloggers of Sleep No More original play, it is impossible for anyone to witness every scene during a single performance. Just a single performance. every scene during for anyone to witness it is impossible original play, ways to present their data and develop than once to collect visit a site more as ethnographers spe­ to encounter missed, scenes they have attendees return to see so do many repeat findings, is such repeat attendee One greater depth. the scenography in and to explore cific performers, in 2011, after its premiere was six months first visit to Sleep No More whose Anderson, Anne Dee school English A high about Macbeth. who told her it was invited by a friend when she was curious how Punchdrunk’s produc­ Anderson was includes the play, teacher whose curriculum assumed she would take her analytical understanding of the story and tion would impact her “confused and intrigued” Anderson found herself However, to the work. usual cerebral approach of the production (Anderson 2017). stunned by the emotional impact” “completely as well as engaged with everything that “emotionally gripping and I was 100 percent Her experience was because she understood she was yet she was compelled to return me,” was happening around “I want to learn decided, She a small percentage of what was going on.” “able to focus only on a place that I explore”: to become my space, and I want it this, for beginners. Scorchedthesnake quickly attracted over 7,000 regular followers. Having cre­ attracted over 7,000 regular followers. Scorchedthesnake quickly for beginners. SNM York Cobb recognizes that the New ated more than 3,100 posts between 2011 and 2014, blog­ fan community grew up around scorchedthesnake and that his research inspired other the SNM fan blogs reflect Cobb suggests that Rather, but insists this was not deliberate. gers, “because the show is He states, the interest of individuals to grasp their experiences concretely. not ­ Cobb states: Commenting that he was raised by historians, (2017). codify it in writing” close and because a lot of the culture around the show is oral Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02October 2021

68 Julia M. Ritter “methodical analysestoappreciationsofartistrycrushesonperformers Martin, whoseblogincludesover2,000posts, describeshisfirstwritingsasrangingfrom named it “Blood Will HaveBlood They Say,” alsoalludingtoShakespeare’soriginaltext. Having attended156timessinceSeptember2011, MartinmodeledhisblogafterCobb’sand Whores” was: have formedtheirownsocialcircle. According toMartin, thefriendshipbetween “Sleep No themselves the “Sleep No Whores,” long-termdedicatedfanswhometthroughtheshowand as akindoffairygodfatherforSNM. Martinisamemberofsmallinformalgroupthatcalls the production. and visualmaterialityonCobb’sblogpresentanaffordablewayto(re)visitresearch stand it.” Forspectatorswhocannotattendmorethanonce(orever), the300pagesofwriting tinue andthecommunitycontinues. Ilovethatpeoplearestillgoingandtryingtounder Cobb nolongerattendsSNMregularlynorpostsonhisblog: “It isniceIdon’thavetocon­ shows back-toinoneevening askedMartinforsuggestions, headvised: “Pace yourself, get too spoileryorobvioustrolling” (Martin2016b). Forexample, whenafanwishingtoattend two his blog; “I likeansweringthe questions, andrarelyskipthem, unlesstheyarejustobnoxious, the questionsthatreturningfans andnewmembersofthefandompost, oftenanonymously, to about whatgoesonbeyondclosed doors” (Martin2016c). That said, Martin cheerfullyanswers Cobb, upholdsthefandom’s defaultpositionofavoidingspoilerposts, stating, “we nevertalk Described byCobbasa “convener,” Martinwelcomespeopleintothefancommunityand, like out aftertheshowthat “no oneeversaidanything” (Martin 2016c): Martin admitshe “didn’t realize[SNM]wasnonverbal” untilhebroughtafriendwhopointed In apostfrom20 April 2012titled “#10, andSTILLFindingNewExperiences,” Martinwrote: Martin remembers: in lovewithsomeoneSleepNoMore , you’renotdoingitright” (2016c). After hisfirstvisit, the audienceandperformerthatyoudon’tgetinanyothersetting. (Martin2016c) the peoplewhobroughtittolife—it’saleveloftheatrethataffordsanintimacybetween enced before. Everysingleoneofushasavisceral, molecularresponsetothisshowand birthed outofapassionforanartformthatwaslikenothinganyushadeverexperi­ While performersandfanshavegivenCobbthetitleofarchivist, JonathanMartinfunctions assumed theshowwasgoingtoendandtherepressurethatallwouldbelost. (2017) record itanywayIcouldtocreateavastbatteryofinformationforothersuse. We my investiturehasbeentocollectasmuchpossible, toknowasmuchpossible, and they’re fightingbutdoingitwiththeirbodies. (2016c) is sointegralandingrainedthattome, they’rejustspeaking, they’reyellingateachother, no argument [...] you have no conflict between Macbeth and Lady Macbeth [...] the dance artistic elements dance. Ithinkthatsayssomethingintermsoftheway the productionintegratesall It nevercrossedmymindtotellsomeonethatthelanguageof theshowwasprimarily walked aroundfeelingliketrueroyaltyafterthat. (Martin 2012) him upthestairsandhadawonderfulencounterwithinvolvinglargesword. I JefferyLyon) ranbyalone, soIchased As IwasfollowingBald Witch around...Banquo( Every triptotheMcKittrickisfilledwithendlesspossibilitiesberockedcore... characters andchoicesthataperformermadeinoneperformanceversusanother. (2016c) experience pointbypoint. Then Ibeganmakingobservationsaboutinterpretationsof I didthisforeverysingleshowtostartbecausewastryingdocumentandjournalmy how importantitwasformetositdownandprocessmyexperiencebywritingdown. — the lights, set, performance, movement. Without thedanceyouhave — if youdon’tfall ­ Sleep No More Fandom 69

teasing, making teasing, — mask. Decoupage, paper paper Decoupage, mask. More No Sleep Figure 2. Handcrafted Handcrafted 2. Figure Martin) Martin.Jonathan 2012 (© Jonathan by mask plastic on ­ performances and related special events, such as the themed parties designed the themed parties designed such as events, and related special SNM performances

Martin, a director of a national nonprofit organization, estimates he has spent over $18,000 has spent over $18,000 estimates he nonprofit organization, a director of a national Martin, another blogger Laura, Conor for the first time, to Sleep No More when I went Three and a half years ago, I didn’t like was the only thing that kept me from leaving early. Witch [Doyle]’s Boy Dance was not an Shakespeare without dialog. It seemed wrong to do the show at first. [and he] Witch show and followed the Boy I stayed at the art form that I appreciated. He runs an emotional gamut [...;] became my favorite character for a bunch of reasons. and just observing the the way he teases and plays with his audience is so much fun, a handful Witch I only ever saw Conor’s Boy crowd dynamics around him is fascinating. He has this I compare to him. every time, Witch, every other Boy of times [...] and yet, way of luring the audience in while completely not pandering to them initially because he had SNM initially because he had attending Acknowledging for holidays. “I make my he states the costs, them choices and I live with at and I don’t regret them formerly Having (2016a). all” Broadway attended 10 or more Martin was drawn shows a year, to and had ent show every time, I watch” 100% control of what he feels he Although (2016a). has thoroughly researched Martin continues to the show, maintaining his connec­ attend, tion to the fan community that an He is also he helped foster. which avid collector of fan art, he feels makes up for the lack of merchandizing around the show. person, “crafty” A self-described he has made a personal hobby of decoup­ decorating (bejeweling, etc.) his masks from the aging, show and those he collects from others; he has gifted over 200 decorated masks to cast mem­ 2). bers and other fans (fig. is a (known by her first name), director of online production at a global cosmetics company. after her first Laura knew to begin researching online Having been active in fandoms before, She followed the fan com­ April 2011 to find information about the production. performance in in summer 2012, for a year before establishing her own blog drinkthehalo Tumblr munity on her 100th On and has created hundreds of posts documenting her thoughts about the show. “It pretty much comes down to: blame the last four years and Laura posted the following: visit, As she explains in another post: (Laura 2015a). Witch” tens of thousands of dollars on the Boy food for between shows. Don’t drink too much the first time through. Wear comfortable shoes. shoes. Wear comfortable first time through. drink too much the Don’t shows. food for between SHOES” (2016a). COMFORTABLE WEAR before, never heeded that warning If you have a differ “the opportunity to see Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02October 2021

70 Julia M. Ritter attended Another repeatspectatorinspired tocreateartisJimStark, wholivesinConnecticut and has Hayes providesadescriptionofthechoreographythatinspired oneofherdigitaldrawings: of more than160digitaldrawingsrelatedtotheproduction. Hayes reflectsonherexperience More in2012andsincethattimehasattendedover35times. As of2014, Hayeshadcompleted artists whocreatefanartinspiredbySNMthatisevocativeofdanceinwayswritingnot. sions, theirblogsreceiveheavyfantraffic. Theyareinstrumentalindisseminatingtheworkof logistical andpracticalquestionsposedbyotherfansaswellengagingininterpretivediscus­ Anderson, andMartinarewellknowninthefandomforgenerouslyansweringanonymous phy, GIFs, andvideos that featureimages through theirextendedaudiencing, fanshavecreateddigitalandvisualforumsdevotedtoSNM ing primarilyofwrittenposts. Yet manySNMblogsfunctionasvisualethnographieswell; such asinvitationstospecialeventsand VIP accesstoregularlyscheduledshows. of currentandfutureprojectsinreturn, receivedifferentkindsofaccesstoproductions, donors whomakeannualcontributionstoPunchdrunkasacharitableorganizationinsupport responses” (Laura2017). Laura, alongwithotherdedicatedfans, isa “Keyholder,” thenamefor given andtheyworshipthecreators, butthat’snottrueatall. We reinterpretandwecreate replied, “I thinkthestereotypeoffansisthatthey’repassive. They justreceivewhatthey’re Paul Zivkovich: her commentaryonindividualperformersisthisinterpretationofaperformanceMacbethby ses ofcharactersandthickdescriptionperformancesbycertaindancers. Another exampleof This postistypicalofLaura’swritingthroughoutherblog;primaryinterestsareanaly­ SNM: images. Ithinkdrewfortwoorthreehoursthatfirst night. (Hayes2014) that. IhadthissketchingapponmyiPadandjuststarted likesketchingallofthese write, butitfeltwrongtodosomethingtextualorverbal, becauseSleepNoMore isnot back homeIwaslike, “I havetolikegetthisoutofme somehow.” Normally Iwould I cameoutofthefirstperformanceatoneo’clockinmorning [...]andwhenIcame One suchartistisGinaMariaHayes, adirectorandplaywrightwhofirstattendedSleepNo Laura’s blog, muchlikethosecreatedby Anderson, Cobb, andMartin, istextual, consist­ When Iaskedheraboutthesignificantamountoffan-drivencreativityaroundSNM, Laura Macbeth youcan’tpossiblymisstheguiltcomingoffhiminwaves. (Laura2016) what Macbethisthinking It’s soheartbreakingtowatch. I’veseenversionsofthatscenewhereyoucan’treallytell how hestands, startstoleave, stops, andgoesbacktopulldownherdressformodesty. hand. Ihadn’tseenthatbeforeanditwentrighttomyheart. And I’malwaysrivetedby ground, whereherhandhadlandednexttohis tle momentonetime, rightafterhe’dkilledLadyMacduffandtheywerebothonthe fully, it’sthesmallermomentsthatmakeperformanceexceptional. There wasthislit­ With Paul’sMacbeth, thoughofcoursehe executes themajorchoreographybeauti­ next one. (Laura2014) them feelgratefulforeverybitofattention, thenmovingondisinterestedlytolurethe few drawingsthatI’vedonewhere Ifeellikehavecapturedthemotion. (Hayes 2014) but I’mtryingtocapturethemovement ofitandnotjuststaticscenes. This isoneof the watching her. Drawingdanceisreallychallengingfor me phin orawhalecomingupasher hairdoesthisamazingarcanditsplashestheaudience The Sexy Witch isbehindthebarandshegetsherhairwet[...]thenit’salmostlikeadol Sleep NoMore over100times since2012: — — in theformofrepostedandremediatedSNM-relatedfanart, photogra­ that illustrateandvisuallycommentontheproduction. BecauseLaura, — is hecontemptuous?justgladshe’sdead? — and forabriefmomentheclutchedher — I’m notatrainedvisualartist — but withPaul’s ­ Sleep No More Fandom 71

­ ­

. Ink and digital drawing by Melanie Hider. Hider. Melanie by drawing digital and Ink . Dance Bar (© 2014 Melanie Hider) Hider) Melanie 2014 (© Figure 3. Figure yet has found that the two cartoons she created based on her — ­ take — in 2013 and 2014 —

performance, I was in the bar talking to one of the dancers. He asked me what I did He asked dancers. talking to one of the I was in the bar performance,

Melanie Hider (fig. 3) of Toronto, Canada, works as a TV commercial editor and is also a car works as a Canada, Toronto, 3) of Melanie Hider (fig. , I was a computer programmer. One evening after a Sleep No One computer programmer. I was a , Sleep No More Before I saw More with [I’m a computer programmer] I have always said and I just stopped dead. for a living ‘I’m an artist.’” want my answer to be “I I said, At that moment, tone. a self-deprecating I make weird [...] I paint a lot. art. some of my even know how to categorize [...] I don’t 2014) (Stark of animal parts. jewelry out Another fan, Taylor Anne Carney, an ophthalmic technician based in New Jersey who blogs an ophthalmic technician Anne Carney, Taylor Another fan, collect I wandered and I sat down for a while to I was confused, it was dark, strange, letter on a desk in a bed­ where I found a I followed a performer to the fifth floor, myself. I’ve read a lot of him for his hospitality. room from Lady Macbeth to Duncan thanking I so in picking that letter up and reading it, Shakespeare and knew a lot about Macbeth Being in the began piecing together the story. realized I was in Duncan’s quarters and I can make You even if there are no performers. space there are so many things to look at your own story even if you didn’t see anyone performing. can touch things You examine them, them apart, have a tactile relationship with As I was reading, the space. Duncan walked in and I began to make the connections and as I began seeing more per I know “oh, I thought formers, (Carney 2016) these people.” has Sleep No More art practice is exemplary of the microeconomies Stark’s newly expanded including the example to the gift economy associated with fandom, in addition generated, masks to other fans and per of Martin’s practice of gifting his decorated mentioned previously foot necklaces and book safes that he sells via his online store on safes that he sells via his online store raven’s-foot necklaces and book Stark creates formers. and has since expanded his business to he sold $1,800 worth of jewelry month, In the first Etsy. mixes. market bespoke cocktail her participation in the SNM has also created fanart that supports under the name unklarity has since attended 25 times. in November 2012 and Sleep No More She first attended fandom. visit as: She describes her first Carney began mak­ In 2013, “magic boxes,” ing what she calls small wooden boxes assembled as tiny dioramas and filled with objects and ephemera to signify aspects of specific characters in The first magic boxes were SNM. made as gifts for friends who were She began to receive also fans. requests from other fans and opened a store on Etsy in 2014; of which have been commissions from anonymous over half Carney has made over 40 boxes, fans from across the USA and as far away as London. Sleep No More Hider attended toonist and the creator of the popular cartoon blog Kelvin & Melvin. only twice and she has sold several prints on Etsy. Tumblr and reposted via “liked” experiences continue to be Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02October 2021

72 Julia M. Ritter Arfman hasseentheNew York productionofSleepNoMore eighttimessince2014. encing oftheSNM fandom. research ­performance since2013.Sleep NoMore morethan50 times spectator ings andLam’sfanartcompriseanalysesofdanceperformance, establishingatrailof ity ofBoy Witch, thatheisbothamonsterandvictim” (Laura2015b). BothLaura’swrit ­ Goodwin Goodwin’s interpretationoftheroleandusedfanart In herblogposttitled “Boy Witch IsaDifficultCharactertoGetRight” Lauraanalyzed trate onhistrackduringhermanyvisits. No More between2012and2014. Lam’sinterestintheBoy Witch characterledhertoconcen­ instead ofrepeatingthesamepeopleandjustdrawingthingsbasedonthem. (Finore 2014) encouraged metodoeverycharacterandthatforcedbranchofffolloweveryone very much. Beingafanon socialmediawassomethingnewtome was thattherearesomanypassionate fansoutthere do, becausetheirshows are sooverwhelmingandcomplex. The onethingIdiscovered And aftermyfirstcoupleofPunchdrunk shows[...]Ididalotofresearchonline, as you Another fanartist, whogoesbythename Arfman, is afinancialprofessionalinLondon. out moved bythesubtletyofthatdancer’sperformance. As soonasIgothomewhipped During thelasthour[...]ofmyfirstvisitIfollowed[hotel]Porterandwasvery Chloe Finore(fig. 4)livesinNew York Cityandworksasanillustrator. Shehasattended looked like, thepositionofdancersandwhattheyweredoing. (Hider 2015) “Bar Dance.” Iwantedtogetthosepaperrightaway sketchbook weretwodancesthatstoodoutforme because thenIjustgusheditallontopaper. The firstsketchesthatIdidquicklyinmy to talkabouteverythingI’dseen, whichactuallyinhindsightisprobablyagoodthing I thinkwasreallykey. ButthedownsideofitwasthatIhadnobodytogushto, noone curse [...] Sleep NoMore soIorganizedatrip. Iendedupgoingbymyself, whichwasablessingand I havealotofclients[whotravelbetween Toronto andNew York]. Severalmentioned love thatkindofvulnerability Austin broughttothearcofthatrole. (Lam2016) play onhissensuality, butmakeitsodoesn’tseemlikehe’sawillingparticipant. Ireally by howunwillingheseemedasaparticipant. That piecewassupposedtobesortoflikea Goodwin performtheBoy Witch rightbeforemakingthatpieceandIwasreallyinspired he wouldjustgoinonthemadness. Iwasabletowatchafullloopofdancer Austin has periodsoflucidityinhisdancing, whereheresiststheirpullbutthenperiods hold overhim, likeitisanintenseinitiation. Heispossessedbutnottotallywilling. He it seemsliketheotherwitchesthrowBoy Witch intotheraveinordertosettheir prophecy butwecallittheravescenebecauseofstrobelightsandeverything out hurtinghimselfisimpressivetowatch. There isonescene role involvesreallycomplexchoreography[...;]thewayhethrowshisbodyaroundwith­ I liketofollowtheBoy Witch becausehe’ssuchanunpredictable, wildcharacterandthe Tina Lam(fig. 5), agraphicdesignerbasedinNewJersey, attended14performancesofSleep find a very my sketchbookandIdrewthat. Iwaspokingaroundonlinethenextdaytryingto out moreandfoundthiscommunityoffanson Tumblr. Ipostedmydrawingandgot — -­ — positive response[so]Icontinuedmakingartaftersubsequentvisits. A lotofpeople generated description, contextualization, andevaluationofchoreography and that underscoresthediscoursedevelopedandsustainedthrough theextendedaudi­ to illustrateherargumentthatheexcelledintherolebybalancing “the dual­ — — a blessingbecauseIwascompletelyinvolvedwithmyownexperience, which and importantly, anexampleofspectatorsaudiencingeach other’screative — — — including Tina Lam’sdepictionof what Icallthe “Prophecy” andthe they obviouslylovetheshows — to rememberwhatthescenes — it’s supposedtobethe — I’d neverfollowed — and Sleep No More Fandom 73 it’s dark, it’s dark, — it’s violent, it’s violent, — Ink drawing by Chloe Finore. (© 2016 Chloe Finore) Finore) Chloe 2016 (© Finore. Chloe by drawing Ink it’s a space [where] people converge [both...] Interrogation. Interrogation. — Figure 4. Figure ­ (fig. 6): (fig. a big, green, smooth, velvety flat surface that is floating, ethereal, levitating in that ethereal, velvety flat surface that is floating, smooth, green, a big,

—

it’s very Shakespearean. There are hints of that in this painting. Also, Boy Witch has a Witch Boy Also, There are hints of that in this painting. it’s very Shakespearean. There’s not much color in that room there. Witch beautiful dance with Bald So the image of the pool chips on the floor. it’s all cardboard boxes and wood it’s dim, table characters and audience. And there is a lot of action in that room. The fight between The fight And there is a lot of action in that room. characters and audience. it’s such a bloody scene Macbeth and Banquo that leads to the murder, I was chosen for Lady Macduff’s She one-on-one. turned was sitting on the sofa, and then led and looked at me, me to another room for the highly emotional interaction. So the sofa in the Macduffs’ living room was a memora­ This is a still ble space for me. with no one present, life piece, but it’s a space where some So I amazing dance is staged. tried to give a more worn look an object that a family to it, would have owned for a long com­ time and is well used, It represents a sort of fortable. in the And there are not many of those [...] perhaps even a safe space. very calm, very still, (Arfman 2016) McKittrick. I spent quite a bit of time in the speakeasy any sort of fan group or forum fan group or forum any sort of There are before. for theatre written by so many articles about their experi­ fans online followed a few blogs, I ences. and some with some written always I’ve mostly artwork. [...] but been interested in art any I’d never really received or train­ sort of formal lessons It school. ing in art since high wanted was something that I I guess to pick up again and you could say that immersive inspi­ theatre was a muse and (Arfman 2016) ration. , Arfman explains how one , Having attended several consecutive performances of Sleep No More work and its title: inspired another the speakeasy, space, Arfman describes how a private interaction with the dancer per forming Lady Macduff during a one-on-one influenced the cre­ ation of his painting Sofa Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02October 2021

74 Julia M. Ritter art —especially ers andspectatorsservingaswitnessestoeachother’spresence andmovement. ChloeFinore’s works ofGinaHayes, aswellthoseofMelanieHider, weseethedepictionsofbothdanc­ edge andbodilysensationstheyprovidethatserveaskeyaspects ofaudienceexperience. Inthe tant rolethatobjectsandephemeraplayintheperformance, because ofthetactileknowl­ Stark’s jewelryandbooksafes, aswell Taylor Anne Carney’smagicboxes, reflecttheimpor ated byfansofSleepNoMore, onethatrangeswidelyinstyleandcomposition. Forexample, Jim Witch (fig. 1): Rodery describeshisimageofdancerRyan Van CompernolleperformingtheroleofBald nate thesurfacesuponwhichchoreography hasjustoccurred ratherthanrepresentingdanc­ depicted thesescenesinhisart. Arfman’s imagesdisplayanevocativeuseoflightto illumi­ the choreographyandactionperformed onthesofaandpooltablewhenIfirstsawhow Arfman simultaneously representingits epicscale. spaces —depicts theincredibleintricacy ofthescenographicdetailproductionwhile todate.10 drawings As suggestedbytheimagesdescribedhere, thereisabroad spectrumofartisticworkscre­ wildfire [...]Igotabunchofmailaboutit. (Rodery 2016) like bigthefanbasewasandhowtightlyknititisuntilIputthat on really something.” Iputthatoutthereandimmediately of unnerving. Butit’stherightlevelofdiscomfortwhereyou’relike, “Oh, man, thatwas The dancerfocusesalotlikethis you areinperilaway. As audienceyou’llalwaysbesafe, butit’sareallyintenseimage. twisting motionandit’stogetthatfeelingacrossthere’sasortofthreataboutit, like really bizarre;Ineededtoputitdownassooncould. Ihaveherinthiskindofweird, such anintensemoment. I’mwalkinghomeandthat’sallIcanthinkabout, likethatwas and thensuddenlythiswitchwalksoutatmegetsrightupinmyface. And itwas neath thisstrobelight, whichissobrightandcookingmybrainintheselittleintervals, where Ijusthappenedtobegoingdowntherighthallwayattime. I’munder kind ofbumpingintosceneryratherthanactualcharacters. Butitwasoneofthesetimes exactly knowwhatI’mdoing. Everyone’sfirstshowisalittlebit[likethat...;]you’re This wasthefirstthingthatImade. ThefirstshowI’mwanderingaroundandIdon’t my blogacoupledayslater. (Rodery 2016) on tothismemory, thiskindofweirdinteractionIhad.” SoIputitdownandupon Having attendedseveralperformances ofSleepNoMore, Ihadimmediaterecollections of home And italsohelpedmecomeupwith, youknow, thingstodoillustratively. Iessentiallygot place ofdialogue, thatgesturescouldbeaspotentastorytellingtoolreallyblewmymind. also havethisintriguingwayofmovingstorytellingalong. And thefactthatittook the abilityforittobeasexpressiveis it’s justreallymind-blowing. And Ithinkoneofthestrongestthingsthatdidhitmewas of alientome, butwhenyouseehowit’sutilizedinthissettingfortypeofnarrative, ble, somehowIhavetobeinvolved.” Ihadanawarenessofmoderndancebutitwaskind go, theseconditwasdoneIlike, “Oh, mygod, thisissoimportant, thisissoincredi­ It hadbeensuggestedtomeforacoupleyearsgoseeSleepNoMore. When Ifinallydid Clay Rodery, aNew York artist, attendedSleepNoMore fivetimesin2015andhasmade think Punchdrunkdoesitverywell. (Arfman2016) sort ofplayaroundwiththem. So, lighting, forme, it’sveryimportantinaset, andI with myphotography, especially space — — I thoughtitwouldcomeoutwellinapainting. OneofthethingsthatItry you’re notallowedtotakephotosoranything The Players, which chroniclesall26characterswiththeirassociatedobjects and — — it’s allaboutcapturinglightandcolor, andhowyou with amischievouskindofsmile — still lookinglikefightingandviolence — — and Iwaslike, “I needtohold I hadnoawarenessofjusthow — — and itwaslike and it’sreallykind — — and ­

­ Sleep No More Fandom 75 is evidence — in the form of writing and fanart — . Digital illustration by Tina Lam. (© 2012 Tina Lam) Tina 2012 (© Lam. Tina by illustration Digital . Witch Boy Figure 5. Figure Lady Macduff in Lady Macduff —

Spectators as incidental and fandom, we can see how the realm of critical and theoretical stud­ we can see how the realm of critical In the case of the SNM fandom, ­ mov of domesticity, a moment the sofa, ing calmly across her pool table dust rising from the the stage that has just served as between for both an erotic dance and a fight to the death Witches Banquo. between Macbeth and the other hand, on Clay Rodery, with color Witch saturates his and exaggerates the forward, of her advancing angularity ways in body to represent the which performers penetrate the spectator’s kinesphere. intentional ethnographers search and observe in the constructed which , habitat of Sleep No More teems with energy via particular In scenographies and characters. their roles as researchers during and through the performance, the extended audiencing that spectators create maps follows, of meaning through visual eth­ nographies that reflect the pro­ cesses of their own sometimes very private and intimate explo­ both during and after the ration, The choices they performance. make in the immersive domain of the performances extend out­ side the performance venue into their own personal spaces and the public spaces of the internet where they share their critical fanwork Sleep No More and artistic responses. ers in motion. With his art his With ers in motion. the spectators of Arfman offers ­ opportunity to cre his work the reconstructions ate their own of memory not only of the enormous popularity of the production but also of a particular kind of percep­ not only of the enormous popularity of the production but also of a particular kind Reflecting upon what tual framework that immersive choreography evokes in its spectators. specta­ they witnessed as participant observers and drawing upon their embodied experiences, as their tors transform participatory movement and dance languages into other artistic media, What is compelling about the SNM blogs is how they serve as examples own creative research. while demonstrating how the and shaped by dance, informed, of fan-driven creativity inspired, imaginative output of spectators is both prolific and ongoing. is now shared with spectators, by critics and scholars, traditionally occupied ies of performance, writings whose analytical examinations of dance and performance can be seen through their Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02October 2021 Figure 6. 76 Julia M. Ritter Sofa. Finore, Chloe. 2014. Personalinterviewwith author. New York, 30June. Doyle, Maxine, ConorDoyle, Tony Bordonaro, and Tori Sparks. 2012. “Rutgers UniversitySleepNoMore Doyle, Maxine. 2013. Personalinterviewwithauthor. New York, 10October. Couldry, Nick. 2005. “The Extended Audience: ScanningtheHorizon.” InMediaAudiences, editedbyMarie Cobb, EvanMatthew. 2017. Telephone interviewwithauthor, 27January. Charmaz, Kathy. 2006. Grounded Constructing Theory: A Practical GuidethroughQualitative Analysis. Carney, Taylor Anne. 2016. Telephone interviewwithauthor, 18December. behindawhitemask. 2012. “The BigListofSleepNoMore Links&Blogs.”Behind a White Mask (blog). Barrett, Felix. 2015. Telephone interview withauthor, 7September. Arfman. 2016. Skypeinterviewwithauthor, 14June. Anderson, Dee Anne. 2017. Personalinterview withauthor. New York, 11January. References other productionsfeaturingdance. to seehowspectatorsareexpandingtheiraudiencingofdancebeyondSNM lished tosupportindependentperformanceand/orchoreographicprojects. Thus, itispossible erous contributorstoonlinecrowdfundingcampaignscurrentandformer have leftthecasttodancewithothercompaniesandprojects. Inaddition, fanshavebeengen­ mances otherthanSNM, astheysupportdancerscurrentlyintheproductionandthosewho increasingly devotedtodance;fanscreatepostsreflectingtheirattendanceatdanceperfor sive practiceinandofitself. articles andessaystoincludethevoicesofspectatorswhosecreativeoutputconstitutesdiscur formance istakingonnewformsandcharacteristics, stretchingbeyondconventionalscholarly Digital oil Arfman)painting by Arfman. (© 2015 Presentation.” Transcript. RutgersUniversity, NewBrunswick, NJ, 7March. Gillespie, 183–222. Maidenhead: OpenUniversityPress. Thousand Oaks, CA:Sage. Accessed 19September2014. behindawhitemask.tumblr.com. Interestingly, theblogsalsoserveasevidencethatSleepNoMore fandomhasbecome the discoursesurroundingper SNM fandomdemonstratethat extended audiencingofthe nographies emergingfromthe the production. The visualeth­ tributes toknowledgeabout information issharedandcon­ recursive processthroughwhich extended audiencingservesasa among fansthatrevealshow cisely thisdialecticalrelationship tion isunderstood, anditispre­ another waythattheproduc­ These questionsfromfansare mously, abouttheproduction. other fanspose, oftenanony­ also answerthequestionsthat yses ofperformances, bloggers addition topostingtheiranal­ work ofthecriticandscholar;in SNM bloggersareextendingthe and artworkspostedonblogs. dancers haveestab­ as theyattend ­ ­ ­ Sleep No More Fandom 77

-at-the 21, 4:345–59. 4:345–59. 21, Poetics 108:51–76. Revue d’Études Littéraires -to-get-right. -first-double. Reframing Immersive Theatre: The Politics and Pragmatics of and Pragmatics The Politics Theatre: Immersive Reframing In edited by James Frieze, 43–62. Basingstoke: Palgrave Macmillan. 43–62. edited by James Frieze,

1:50–67. Accessed 28 June 2016. http://journals.sagepub.com/doi/10.1177/0163443714549088. Accessed 28 June 2016. 1:50–67. -lims-irmgard-bartenieff. www.limsonline.org/about Accessed 20 December 2016. limsonline.org. -night-at-the-late-show-i-did-the-usual. .com/post/98658350173/last -to. -late-show-tonight-will-be-my-100th-visit .com/post/113512384718/the difficult-character -witch-is-a- .tumblr.com/post/133792463838/boy -the-seating-order http://bloodwillhavebloodtheysay.tumblr.com/post/154597564890/whats 2016. -banquet-do-you-get. edited by “Engagement du spectateur et théâtre contemporain,” In de Punchdrunk.” Sleep No More Tangence: Special issue, La Revue Catherine Bouko and Hervé Guay. -about-the-show-as-much. .com/post/149790211388/i-havent-been-writing http://bloodwillhavebloodtheysay.tumblr 2016. Accessed 5 November April. 20 (blog), new-experiences. .com/post/21422804037/10-and-still-finding- http://bloodwillhavebloodtheysay Accessed 4 January 2017. 14 March. (blog), Say” -on-doing-your .tumblr.com/post/141058903930/tips 28 December Accessed 17 December. (blog), Say” They Blood, Have Will “Blood of answering questions?” ” Dance Spectatorship in Sleep No More. , Performance Participatory 37, 37, & Society Culture Media, Media.” in Social as Marketing Audiencing Media’: “‘You 2015. Eran. Fisher, A Television.” Cultural Studies Approach “Audiencing: to Watching 1992. John. Fiske, July. 1 with author, Skype interview 2014. Gina Marie. Hayes, August. 21 Canada, Toronto, interview with author. Personal 2015. Melanie. Hider, LIMS|Irmgard Bartenieff.” “About 2009. of Movement Studies (LIMS). Laban/Bartenieff Institute 10 June. Skype interview with author, 2016. Tina. Lam, http://drinkthehalo.tumblr Accessed 15 October 2016. 29 September. , drinkthehalo Blog post. 2014. Laura. http://drinkthehalo.tumblr 2016. Accessed 27 October 13 March. , drinkthehalo Blog post. 2015a. Laura. http://drinkthehalo Accessed 7 November 2016. 23 November. , drinkthehalo Blog post. 2015b. Laura. 22 December. York, New Personal interview with author. 2016c. Jonathan. Martin, et des performeurs dans “Danse en tandem: Étude du mouvement des spectateurs 2015. Julia M. Ritter, http://drinkthehalo.tumblr Accessed 7 November 2016. 1 September. , drinkthehalo Blog post. 2016. Laura. 11 January. York, New interview with author. Personal 2017. Laura. They Say” Blood, Have Will “Blood and STILL Finding New Experiences.” “#10, 2012. Jonathan. Martin, They Blood, Have Will “Blood asked: tips on doing your first double?” “Anonymous 2016a. Jonathan. Martin, the seating order at the banquet? Do you get tired Whats asked: “Anonymous 2016b. Jonathan. Martin, Transform Audiencing and Extended “In the Body of the Beholder: Insider Dynamics 2016. Julia M. Ritter, To view supplemental materials related to this article, please visit supplemental materials related to this article, view To http://www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00692 Rodery, Clay. 2016. Skype interview with author, 16 June. Skype interview with author, 2016. Clay. Rodery, 14 June. York, New Personal interview with author. 2014. Jim. Stark, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00692 by guest on 02 October 2021