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Published online by Cambridge University Press: 03 July 2025
Abstract: This chapter analyzes three theatrical VR productions, namely Tempest (2020) by Tender Claws, Finding Pandora X (2020) by Double Eye Studio, and Welcome to Respite! (2021) by CoAct Productions and Ferryman Collective. After offering an overview of various design suggestions for contemporary theatrical VR productions, the chapter will show that this type of performance, which has the capacity to bring remote audiences together, can offer new possibilities for co-presence and a sense of liveness, even though these productions still face technological barriers. This can be achieved with the help of the particular mechanics of Live Action Role-Playing (LARP) and immersive theatre. The article concludes by pointing out the limitations of virtual immersive theatre compared to analogue immersive theatre performances and offering possible design suggestions to enhance the immersive experience.
Keywords: theatre, experience design, VRChat
Introduction
Since 2020, COVID-19 lockdowns created new challenges but also new and imaginative mediated theatrical possibilities for performance makers. Audiences had the chance to experience theatrical events that involved liveness and co-presence in many forms, especially in video conferencing and other web-based forms. Meanwhile, new and affordable stand-alone Virtual Reality (VR) headsets appeared on the market.
In this chapter, I will offer an analysis of these new immersive strategies. I will overview various design suggestions for contemporary theatrical VR productions and present three immersive theatrical VR productions as case studies, namely Tempest (2020), by Tender Claws, Finding Pandora X (2020), by Double Eye Studio, and Welcome to Respite! (2021), by CoAct Productions and Ferryman Collective. I will show that this type of performance, which has the capacity to bring remote audiences together, can offer new possibilities for co-presence and the sense of liveness, even though these productions are still fighting the barriers of technology. This can be achieved with the help of the particular mechanics of Live Action Role-Playing (LARP) and immersive theatre. I will conclude by pointing out the limitations of virtual immersive theatre compared to analogue immersive theatre performances.
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