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Interactive theatre is a presentational or theatrical form or work that breaks the "fourth wall" that traditionally separates the performer from the audience both physically and verbally.
In traditional theatre, performance is limited to a designated stage area and the action of the play unfolds without audience members, who function as passive observers.[citation needed] Conversely, in interactive theatre, the performance engages directly with audience members, making them active participants in the piece. Interactive theatre often goes hand in hand with immersive theatre, which brings the audience into the same playing space as the performers. They may be asked to hold props, supply performance suggestions (as in improvisational theatre), share the action's real-world (non-theatrical) setting (as in site-specific theatre and immersive theatre), or become characters in the performance. They may also be asked to participate in altering the course of the play by collectively voting to steer the plot in a new direction, as with Augusto Boal's forum theatre. In therapeutic and educational settings, they may even be invited to discuss pertinent issues with the performers.
Interactive theatre is not made for only entertainment, but is often produced to illustrate real-life political and moral debates. It allows the audience to become immersed as participants and to become the primary reason for the production. They may even become the show's main characters. Interactives productions are designed to create a sense of reality, where the location and setting sets the tone of the production. Space is an important factor: Interactive set designers "want rooms with character, with personality, so that we can work with [an audience member] as we would an actor."[1]
Theatre companies and shows that regularly utilize audiences interactively include The Second City, pH, Supernatural Chicago, Dungeonmaster, Mystery on the Lake Productions, and Walkabout Theatre.
^Sidney, Homan (2014). "Introduction: What Have You Learned Today?". Comparative Drama. 48 (1&2): 1–11. doi:10.1353/cdr.2014.0008.
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