In Short: Approach is everything.
In June I walked into The Drowned Man, fell in love with the set, the detail and began to explore only to hit an ‘edge of the world wall’ rapidly (phones). I was daunted by the huge crowds following main characters, and so tried to bring a spirit of curiosity to a general approach. I wound up disengaged, alienated and disappointed in dance sequences that seemed a constant rehash of early 90’s physical theatre routines specialising in sex and death tension. I wanted to investigate deaths marked by shrines but found no markers for the path.
For a return visit I needed a new plan and found it in deciding to follow minor characters and to make a heart leap, force myself to engage and care, rather than remain curious. It worked. I found narrative and questions answered and unanswered. I was engaged on more than a purely sensory level. And I had two 1-1’s which left me reeling through beautiful storytelling, sensory deprivation temperature and more.
I still object to anyone referring to Punchdrunk as accessible or interactive, and even immersive is highly debatable. But now I’m hungry for more characters’ journeys and a greater sense of the whole.
In depth: thoughts on the questions of accessibility, interactivity, immersion coming shortly
Vital Stats:
Show: The Drowned Man
Company: Punchdrunk
Venue: Warehouse in Paddington/Temple Studios
Date: June 2013 and March 2014
Event: Long running production
is200enough? 