![]() Then when he gave the drink to me I had this bizarre freak out where I was so enraptured and so terrified of getting tricked… I literally poured the drink out!ĭo you know what I think is really weird? The show’s been on for five years now and the world has really shifted in those five years. The second guy went to take the drink and he did nothing. But he poured a drink for one guy, and when the guy went to drink it, the performer slapped it out of his hand. But I got pulled into something with like the drinks at the bar, when a character lays out three drinks-I forget exactly what the context was. The minute we got in there-it was me and one other Kill Screen editor in the first room-and we just started ransacking the place like we were in a survival horror game. And whatever baggage or cultural background people have informs the way they watch the show. And with theater, it’s just this completely passive experience. I’m not totally a gamer myself, but there’s always that desire to kind of hack a game or try to mod it or find the glitch. It’s all about how you can control it-c ontrol someone else’s world. And I think that’s because it’s from a games perspective. But I needed to see how far I could take it. Not break the immersion I was fully immersed. KS: I don’t know why-maybe because I knew I was going to interview you, but I went into Sleep No More with this very investigative approach. At the conference, a panel on horror took place between Barrett and independent game maker Kitty Horrorshow, where they discussed the intimate relationship between theater and games, horror and interactivity. Afterward, I caught up with Barrett to dig deeper into the question of how the increased prevalence of videogames is changing the nature of Sleep No More. ![]() Kill Screen decided to throw several videogame players into the mix, by bringing the entire editorial team to a showing the night before Kill Screen Festival this past April. ![]() It only takes one videogame player in the crowd to really test the limits of the “interactive” label. Yet, some audience members proved more compliant than others. Required to wear plague doctor masks and forbidden from speaking, each viewer has their identity and individuality stripped away. The actors flight from room to room, the audience scrambling after them to inspect all the objects and rooms around them or to watch their wordless performances. Billed as an “interactive play,” it allows viewers to discover the story at their own pace, breaking the linearity of the story in favor of a more modern form of storytelling. Sleep No More (2011), created by Punchdrunk’s Felix Barrett, tells the story of Macbeth (1611) but set in the 20th century. Nestled in the deep dark corners of Chelsea, a faux hotel houses an experience that changed the way people saw theater. That struts and frets his hour upon the stage Life’s but a walking shadow, a poor player To-morrow, and to-morrow, and to-morrow,Ĭreeps in this petty pace from day to day,Īnd all our yesterdays have lighted fools There would have been a time for such a word.
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