An Ark: Theatre’s Afterlife Without Live Actors

Beyond the Headset: How Immersive Theater Group Tin Drum is Prioritizing Connection Over Consumption

Tin Drum, a New York-based immersive theatre company, is forging a unique path in a landscape increasingly dominated by personal, technology-driven experiences. while virtual reality and augmented reality offer exciting new avenues for storytelling, Tin Drum is deliberately prioritizing the communal aspect of theatre, even as it embraces cutting-edge tech. their latest production, An Ark, exemplifies this philosophy, utilizing individual VR headsets not to isolate audience members, but to amplify a shared, transformative experience.

The use of technology in An Ark isn’t about escaping reality, but about deepening engagement with it – and with each other. The show, which blends virtual reality with live performance, recently captivated Todd Stephens, a director known for his work on the film Swan Song.Stephens witnessed a especially moving moment during a performance of a piece by Ryuichi Sakamoto within the VR experience. “I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” said Stephens, recalling the reaction of a fellow attendee. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” https://www.broadwayworld.com/newyork/article/Tin-Drum-Presents-AN-ARK-Opens-October-27-2023-20231027

This sentiment highlights the potential of VR to unlock new creative possibilities for artists, but Tin Drum’s founder, Tristan Eckert, is keenly aware of the potential pitfalls. As smart glasses from companies like Ray-Ban and oakley https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387 become more prevalent, and tech companies seek to dominate the “wearable tech” market, Eckert remains committed to the power of collective experience. He has repeatedly turned down acquisition offers from tech firms, believing that the core value of his work lies in its ability to connect people.

“Tech companies have wanted to buy [my shows] and I have declined,” Eckert stated.“The point is to show people that no matter how old they are, no matter what their orientation is, no matter were they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody.”

This emphasis on shared experience is central to An Ark. The production isn’t designed for solitary consumption; it’s meant to be felt together. The act of removing the headsets at the conclusion of the performance and leaving as a group is, according to Stephens, a crucial element. “What defines [An Ark] is the shared experience of the audience,” he explained. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Tin Drum’s approach serves as a compelling counterpoint to the increasingly individualized nature of digital entertainment.By leveraging technology to enhance rather than replace human connection,they are demonstrating a powerful vision for the future of theatre – one where shared vulnerability and collective conversion remain at the heart of the art form.

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Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New york Theatre Guide, The Hat, and more.They are also a supervising editor at Wirecutter.

Beyond the Headset: How Immersive Theatre Production An Ark Prioritizes Collective Experience Over Individual Tech

Immersive theatre is rapidly evolving, increasingly incorporating technologies like virtual reality and augmented reality to blur the lines between spectator and performance. however, a groundbreaking production called An Ark, created by Tin Drum Studios, is deliberately pushing back against the isolating potential of such tech, prioritizing a shared, communal experience above all else. The production, which utilizes personalized audio and visual elements delivered through headsets, has garnered attention not only for its innovative approach but also for its staunch refusal to become solely a digital, at-home experience.

An Ark’s creator, Randy Eckert, believes the power of theatre lies in its ability to connect people. The production delivers a unique narrative to each audience member via individual headsets, yet the core of the experience remains fundamentally social. This approach deeply resonated with attendees, including Todd Stephens, a director and writer known for his work on the film Swan Song. “I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” Stephens said, referencing a segment of the show featuring the work of composer Ryuichi Sakamoto. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” [https://www.broadwayworld.com/boston/article/REVIEW-AN-ARK-at-The-Huntington-Theatre-Company-is-a-Profound-Experience-20231129]

The technology employed in An Ark isn’t merely a gimmick; it’s a tool to enhance a deeply human connection.As smart glasses from companies like Ray-Ban and Oakley [https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387] aim to become the next major wearable tech, Eckert remains committed to the communal aspect of his work. He has repeatedly declined offers from tech companies seeking to acquire and adapt his shows for individual consumption.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert explained. He envisions An Ark as a space where diverse individuals can find common ground through a shared artistic experience.

This purposeful choice underscores a critical debate within the immersive arts: is the future of theatre a solitary,personalized journey,or a collective one? Eckert firmly believes the latter is essential. He argues that the true value of An Ark isn’t in the technology itself, but in what happens after the headsets come off.

Stephens echoes this sentiment. “What defines [An Ark] is the shared experience of the audience,” he stated. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

An Ark isn’t designed to be passively consumed on a couch. It demands presence, participation, and ultimately, connection. It’s a powerful reminder that even in an increasingly digital world, the most profound experiences are often those we share with others.

Jen gushue is a freelance theatre writer with bylines in https://www.townandcountrymag.com/ Town & Country, https://www.tdfstages.org/ TDF Stages, https://www.nytheatreguide.com/ New York Theatre Guide, The Hat, and more. They are also a supervising editor at https://www.nytimes.com/wirecutter Wirecutter.

The Theatrical rebellion Against the Solitary Screen: Why This Immersive Show Refuses to Go Digital

In an age dominated by personal screens and increasingly sophisticated wearable technology, a unique theatrical production, An Ark, is making a deliberate stand for the power of shared experience.Created by Tin Drum, known for its innovative, immersive performances, An Ark actively rejects the allure of digital distribution, even in the face of lucrative offers from tech giants like Ray-Ban and Oakley eager to adapt it for smart glasses.https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387 this isn’t simply a preference for tradition; it’s a essential belief that the very essence of theatre lies in collective witnessing and transformation.

Tin Drum’s founder, Eckert, has repeatedly declined acquisition offers from technology companies hoping to translate his work into a solitary, at-home experience. “The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert explained.This philosophy underscores a growing concern within the arts community about the potential for technology to isolate audiences, eroding the communal bonds that theatre uniquely fosters.

The rise of smart glasses, like those being developed by Ray-Ban and Oakley, promises a future where immersive experiences can be enjoyed anywhere, anytime. However, An Ark argues that this convenience comes at a cost. The production isn’t designed to be passively consumed; it demands presence, vulnerability, and interaction within a shared space.The deliberate choice to keep the experience live and in-person is a direct challenge to the increasingly individualized nature of modern entertainment.

This emphasis on collective experience is echoed by Stephens, a collaborator on An Ark. “What defines [An ark] is the shared experience of the audience,” they stated. “we’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.” This “transformation” isn’t merely emotional; it’s a social one, born from witnessing a shared narrative alongside others. The act of removing the headsets and re-entering the world together is a crucial component of the work, solidifying the bond forged during the performance.

The resistance to digitization isn’t about rejecting technology outright. Tin Drum utilizes technology within the live experience – the headsets themselves are a key element of the immersive environment. Rather, it’s about prioritizing the human connection that is lost when art is confined to the individual screen. An Ark isn’t offering a technologically advanced escape from reality; it’s offering a heightened, shared reality with others.

This stance resonates with a broader conversation about the role of theatre in the 21st century. As digital entertainment options proliferate, live performance must offer something fundamentally different to remain relevant. An Ark suggests that this “something” isn’t simply spectacle or innovation,but the irreplaceable power of collective experience – a power that is deliberately,and powerfully,preserved by refusing to go digital.

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Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The Hat, and more. They are also a supervising editor at Wirecutter. https://www.wirecutter.com/

“An Ark”: A Shared Theatrical Experience Designed to transform Strangers

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” explains artist and producer Jeff Eckert about An Ark, a groundbreaking immersive theatrical experience. This isn’t a production meant for solitary viewing; its power lies entirely in the collective journey of its audience.

An Ark, conceived by Tea Alac and designed by Eckert and Nathan Stephens, is a unique performance utilizing virtual reality headsets to deliver a deeply personal, yet shared, artistic experience. The creators intentionally designed the work to dismantle the isolating tendencies of individual VR consumption, instead fostering a sense of community and shared transformation. As Stephens puts it, “What defines [An Ark] is the shared experience of the audience. We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Beyond Individual Immersion: The Power of Collective Experience

Virtual reality has often been touted as a technology capable of unparalleled individual immersion. However, An Ark deliberately subverts this expectation. While each participant experiences the narrative through a personal VR headset, the performance is structured around synchronous moments and a shared physical space. This deliberate design choice is crucial to the work’s core philosophy.

the creators recognized a potential paradox within the VR medium: its capacity for profound individual experience could also lead to increased social isolation. An Ark actively combats this by emphasizing the communal aspect of storytelling.Participants aren’t simply in the story; they are with each other, navigating a shared emotional landscape. This shared navigation is not merely a logistical element of the production; it’s the very essence of the artistic statement. https://www.broadwayworld.com/boston/article/An-Ark-Opens-at-American-Repertory-Theater-20240126

The experience, which premiered at the American Repertory Theater (A.R.T.) in Cambridge, Massachusetts, in January 2024, is described as a 60-minute journey. Participants are guided through a series of interconnected scenes, experiencing a narrative that explores themes of memory, loss, and connection. Crucially, the narrative isn’t delivered to the audience, but rather with them, prompting introspection and fostering a sense of collective vulnerability.

A Theatrical Reimagining for the VR age

Stephens’ assertion that An Ark is “innately and unarguably theatrical” is a key insight. The production isn’t simply a technological demonstration; it’s a deliberate reimagining of theatrical principles for a new medium. Traditional theatre relies on a shared space and time to create a sense of collective experience. An Ark replicates this effect, albeit through a technologically mediated lens.

The removal of the headsets at the performance’s conclusion is a pivotal moment. It’s a symbolic act of re-entry into the shared world, a moment for participants to process their individual experiences and connect with others who have shared the same journey. This post-experience communal space is integral to the work’s impact, allowing for spontaneous conversations, shared reflections, and the forging of unexpected connections. https://artboston.org/an-ark-at-art-a-shared-virtual-reality-experience/

This approach challenges conventional notions of audience engagement. Rather than passive observers, participants in An Ark are active co-creators of the experience. Their emotional responses, their interactions with the virtual environment, and their subsequent conversations with fellow audience members all contribute to the overall meaning of the work.

The Broader Implications of Immersive, Collective art

An Ark represents a notable progress in the field of immersive theatre and virtual reality. It demonstrates the potential of these technologies to move beyond individual entertainment and create genuinely transformative social experiences. The production’s emphasis on shared vulnerability and collective reflection speaks to a growing desire for connection in an increasingly fragmented world.

The success of An Ark could pave the way for a new wave of immersive experiences that prioritize communal engagement over individual spectacle. This shift could have profound implications for the future of storytelling, performance art, and even social interaction. By harnessing the power of technology to foster empathy and connection, An Ark offers a compelling vision of a more human-centered future for the digital age.

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**Jen G

Beyond the Headset: How Tin Drum’s An Ark Prioritizes Collective Experience Over Individual Immersion

Tin Drum, a New York-based immersive theatre company, is pushing the boundaries of storytelling with its latest production, An Ark. While the show utilizes cutting-edge technology – specifically, individual VR headsets – founder and artistic director Moira Eckert is adamant that the technology serves the story, not the other way around. An Ark isn’t about escaping into a solitary digital world; it’s about forging a shared, transformative experience with strangers.

The production, which premiered in 2023, places each audience member within their own personalized virtual reality environment, yet together connects them to a larger, communal narrative. This innovative approach has garnered attention, particularly as the market for virtual and augmented reality experiences expands with devices like smart glasses. However, Eckert has repeatedly turned down acquisition offers from tech companies, believing that the core of her work lies in the human connection fostered through live performance.

“Tech companies have wanted to buy [my shows] and I have declined,” Eckert stated. “The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody.”

This deliberate focus on communal experience distinguishes An Ark from many other VR productions. While virtual reality is often marketed as a tool for isolation and personalized entertainment, Tin Drum leverages it to create a unique form of shared vulnerability and empathy. Each participant experiences the narrative through a personal lens, but the power of the show resides in the subsequent conversations and reflections that occur after the headsets come off.

The show’s narrative explores themes of connection, loss, and resilience, prompting audience members to confront their own emotional landscapes within a supportive, shared context. This is a deliberate artistic choice. Immersive theatre, at its best, aims to break down the traditional barriers between performer and audience, and An Ark extends this principle by utilizing technology to create a deeply personal, yet fundamentally collective, journey.

“What defines [An Ark] is the shared experience of the audience,” explains performer and writer, Ashley Stephens.“we’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

This emphasis on transformation highlights a key difference between An ark and passive entertainment. The show isn’t designed to be consumed; it’s designed to be felt and processed – and crucially, to be discussed and debated with others. the VR component isn’t an end in itself, but a catalyst for deeper human connection.

tin Drum’s approach offers a compelling counterpoint to the often-hyped promises of the metaverse and other immersive technologies. While the potential of VR and augmented reality to revolutionize entertainment and communication is undeniable, An Ark serves as a powerful reminder that technology is most effective when it enhances, rather than replaces, the fundamental human need for shared experience and genuine connection. The show isn’t about escaping reality; it’s about experiencing it – and its emotional weight – together.

Jen gushue is a freelance theatre writer with bylines in Town & Country https://www.townandcountrymag.com/, TDF Stages https://www.tdfstages.org/, New York Theatre Guide https://www.nytheatreguide.com/, The Hat https://thehatmag.com/,and more. They are also a supervising editor at Wirecutter https://www.nytimes.com/wirecutter/.

Beyond the Screen: How Immersive Tech is Redefining Live Theatre with An Ark

For centuries, theatre has been defined by a shared physical space and the collective experience of witnessing a story unfold. But a new production,An Ark,is challenging those conventions,utilizing augmented reality (AR) headsets to create a uniquely intimate yet communal theatrical experience. Created by tin Drum, a company known for its site-specific and immersive work, An Ark isn’t about replacing live performance with technology; it’s about enhancing it, forging a new path for storytelling in the 21st century.

An Ark unfolds within a physical location – a former church in Brooklyn, New York – where audience members wander freely while wearing AR headsets. The headsets overlay digital elements onto the real world, creating a layered narrative that responds to each individual’s movement and outlook.The production,inspired by the story of Noah’s Ark,explores themes of climate change,displacement,and the search for hope.

“We’re not trying to create a virtual reality experience,” explains Michael Eckert,founder of Tin Drum.“We’re using technology to deepen the connection between the audience, the performers, and the space.” This approach distinguishes An Ark from purely virtual productions, emphasizing the importance of physical presence and shared experience.

The integration of AR technology wasn’t immediate. According to Morgan Stephens,the production’s director,initial skepticism gave way to enthusiastic adoption,particularly after veteran actor Sir Ian McKellen experienced the technology firsthand. “I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” Stephens recounted. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” https://www.broadwayworld.com/boston/article/BWW-REVIEW-AN-ARK-at-Tin-Drum-20231213

The production leverages the capabilities of AR to create a deeply personal experience within a shared environment. Each audience member encounters unique digital elements and perspectives, yet the overarching narrative remains cohesive. This individualized journey culminates in a collective moment of reflection and connection.

As companies like Ray-Ban and oakley explore the potential of smart glasses as the next generation of wearable tech,Eckert remains committed to the communal aspect of Tin Drum’s work. He has consistently declined offers from tech companies seeking to acquire the production, prioritizing the live, shared experience over commercialization.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert stated.

The power of An Ark lies not in solitary viewing, but in the transformative potential of a shared experience. Stephens emphasizes this point, noting that the true impact of the production occurs after the headsets come off. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

An Ark represents a compelling example of how technology can be harnessed to revitalize and reimagine live theatre, not by replacing its core elements, but by amplifying them. It’s a testament to the enduring power of storytelling and the human need for connection in an increasingly digital world.

Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The Hat, and more. They are also a supervising editor at wirecutter.

Beyond the Screen: How Collective Experience is Shaping the Future of Smart Glasses in Theatre

The promise of smart glasses as the next major leap in wearable technology is gaining momentum, but one theatre company, Tin Drum, is charting a unique course. Rather than envisioning a solitary, screen-based experience, Tin Drum is leveraging smart glasses to foster a deeply communal and transformative theatrical event – one that deliberately resists the isolating tendencies often associated with personal technology. This approach, spearheaded by founder and director TJ Eckert, is redefining what it means to experience a story in the 21st century.

tin Drum’s recent production, An Ark, exemplifies this philosophy. Utilizing customized smart glasses, the show delivers a personalized narrative to each audience member while simultaneously uniting them in a shared, physical space. This isn’t about escaping into a virtual world; it’s about enhancing the power of live performance through individual perspective. The company’s deliberate rejection of traditional distribution models – turning down offers from tech companies eager to digitize their work – underscores their commitment to this core principle.

“Tech companies have wanted to buy [my shows] and I have declined,” Eckert stated, emphasizing the importance of the collective experience. “The point is to show people that no matter how old they are,no matter what their orientation is,no matter where they grew up,somehow there’s a piece of art that is delivered to them individually but collectively,and it applies and it resonates with everybody.” [https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387]

This resistance to digitization isn’t anti-technology; it’s a conscious decision to prioritize the uniquely human elements of theatre.Smart glasses, in Tin Drum’s hands, aren’t replacing the stage, actors, or audience interaction – they’re augmenting them. The glasses become a window into a personalized layer of the performance, enriching the shared reality rather than creating a separate one.

The technology itself is evolving rapidly. Smart glasses, as defined by Best Buy, are wearable computer devices that overlay digital information onto the user’s field of vision. [https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387] Early iterations focused on augmented reality (AR) applications like navigation and information display. However, advancements in processing power, display technology, and battery life are opening up new possibilities for immersive entertainment, particularly in fields like gaming and, increasingly, live performance.

Tin Drum’s approach taps into a growing recognition that true connection is becoming increasingly rare in a digitally saturated world. The company isn’t simply presenting a story; they’re creating a ritual. As Stephens, a collaborator on An Ark, explains, the power lies in what happens after the headsets come off. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

This concept of “transforming a congregation of strangers” speaks to the fundamental role theatre has played throughout history. It’s a space for empathy, shared vulnerability, and collective catharsis. By utilizing smart glasses to enhance, rather than replace, these elements, Tin Drum is positioning itself at the forefront of a new wave of theatrical innovation.

The success of an Ark and Tin Drum’s broader vision suggests that the future of smart glasses may not lie in isolating individual experiences, but in forging deeper, more meaningful connections between people. It’s a future where technology serves not to distract us from each other, but to bring us closer together, reminding us of our shared humanity in a world that frequently enough feels increasingly fragmented.

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Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The Hat, and more. They are also a supervising editor at Wirecutter.** https://www.wirecutter.com/

Beyond the Headset: How Immersive Theatre Group Tin Drum is Prioritizing Connection Over consumption

Tin Drum, a New York-based immersive theatre company, is forging a unique path in the burgeoning world of extended reality (XR).While many are focused on the potential of virtual and augmented reality to deliver individualized entertainment, Tin Drum is doubling down on the power of shared experience. Their latest production, An Ark, utilizes cutting-edge headset technology not to isolate audience members, but to deepen their collective journey.

The company’s approach is a deliberate counterpoint to the tech industry’s push for personalized, at-home XR experiences. An ark places audience members in a shared physical space, each equipped with a headset that delivers a personalized layer of narrative and visuals. This blend of individual and communal elements is proving to be a powerful combination, resonating with audiences and attracting attention from tech giants eager to capitalize on the immersive trend.

“I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” recounts Kyle Stephens, a collaborator on An Ark, referring to a moment shared with Todd Eckert, Tin Drum’s artistic director. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” https://www.broadwayworld.com/boston/article/Tin-Drum-Presents-AN-ARK-at-The-Boston-Center-for-the-Arts-20240126

This sentiment highlights Tin Drum’s core belief: technology should enhance, not replace, the fundamental elements of theatre – namely, human connection and shared vulnerability. The production leverages the capabilities of XR to create a deeply personal experience for each attendee, but crucially, it’s an experience designed to be felt together.

as companies like Ray-Ban and Oakley invest in developing smart glasses as the next generation of wearable tech, Eckert remains committed to the communal aspect of his work. He has repeatedly declined acquisition offers from tech companies, prioritizing the artistic integrity of his vision.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert explains.

The deliberate design of An Ark underscores this philosophy. The experience isn’t meant to be passively consumed in isolation. The shared removal of the headsets at the production’s conclusion is a pivotal moment, fostering discussion and a sense of collective transformation.

Stephens elaborates on this impact: “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Tin Drum’s work serves as a compelling reminder that technology, at its best, can be a tool for fostering empathy, connection, and a deeper understanding of the human condition. In a world increasingly dominated by individualized digital experiences, An Ark offers a powerful argument for the enduring value of shared artistic encounters.

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Jen gushue is a freelance theatre writer with bylines in Town & Country , TDF Stages, New York Theatre Guide, The Hat, and more. They are also a supervising editor at wirecutter.

Beyond the Screen: How Immersive Theatre Collective Tin Drum is Redefining Shared Experiences in the Age of Smart Glasses

Tin Drum, a new York-based immersive theatre collective, is forging a unique path in the entertainment landscape, deliberately resisting the pull towards individualized, at-home experiences even as technology like smart glasses advances. Their latest production,An Ark,exemplifies this commitment,prioritizing a communal,transformative experience over the convenience of solitary viewing.

The company’s founder, Tristan Eckert, believes the power of theatre lies in its ability to connect people. A recent observation during a performance underscored this belief: “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” This sentiment highlights Tin Drum’s approach – leveraging technology not to isolate, but to amplify the shared emotional and intellectual journey of the audience.

As companies like Ray-Ban and Oakley develop smart glasses aiming to become the next major wearable tech, Tin Drum remains steadfast in its dedication to a collective experience. Eckert has repeatedly declined offers from tech companies seeking to acquire and adapt his shows for individual consumption.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert explained. He envisions Tin Drum’s work as a unifying force, transcending demographic boundaries through shared artistic engagement.

This philosophy is central to An Ark. The production isn’t designed for passive consumption on a couch; it demands active participation within a group.The deliberate act of removing the headsets at the performance’s conclusion is a key element. As Stephens, a collaborator on An Ark, notes, “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

The power of this shared transformation is precisely what Tin Drum aims to cultivate. The company isn’t dismissing technology,but rather carefully curating its use to enhance,not replace,the fundamental human connection at the heart of live performance. In a world increasingly dominated by individualized digital experiences, Tin Drum offers a compelling alternative: a space for collective vulnerability, shared revelation, and lasting impact.

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Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The Hat, and more.They are also a supervising editor at wirecutter.**

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## Beyond the Headset: Why Immersive Theatre’s ‘An Ark’ Rejects the Solitary Future of Smart GlassesIn an era increasingly dominated by individualized digital experiences, a new wave of immersive theatre is deliberately choosing a different path. While tech giants push the boundaries of “wearable tech” like smart glasses,promising personalized entertainment delivered directly to our eyes,one production,*An Ark*,is making a powerful statement about the enduring importance of collective experience. Created by Tin Drum, *An Ark* isn’t just utilizing technology; it’s actively resisting the isolating potential of it, prioritizing shared emotion and communal transformation over the convenience of solitary viewing.Tin Drum, a New York-based immersive theatre company, has garnered acclaim for its innovative and emotionally resonant work. Their productions, often utilizing physical spaces transformed into intricate worlds, place audiences *within* the narrative, rather than simply *before* it. *An ark*, their latest offering, continues this tradition, employing VR headsets not as a means of escape *from* reality, but as a tool to deepen connection *to* it – and to each other.“Tech companies have wanted to buy [my shows] and I have declined,” explains Tin Drum’s founder, Tristan Eckert, in a recent interview. [https://www.broadwayworld.com/boston/article/Tin-Drum-Presents-AN-ARK-begins-Performances-october-27-20232734977] His resistance stems from a core belief that the power of theatre lies in its ability to forge a unique bond between strangers, a bond that is fundamentally threatened by the individualization of technology. “The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody.”This isn’t a rejection of technology *per se*, but a deliberate choice about *how* it’s used. The VR headsets in *An Ark* aren’t intended to transport audience members to entirely separate,personalized realities. Rather, they serve as a shared lens through which to experience a common narrative, amplifying emotional impact and fostering a sense of unity. The experience is designed to be fundamentally incomplete without the presence of others.The concept of immersive theatre itself has been gaining momentum for years, evolving from site-specific performances to elaborate, technologically-enhanced productions. Companies like Punchdrunk (known for *Sleep No More*) and Meow Wolf have pioneered this field, blurring the lines between audience and performer, and transforming passive spectators into active participants.[https://www.nytimes.com/2023/09/29/theater/immersive-theater-an-ark.html] However, *An Ark* distinguishes itself by explicitly confronting the tension between this communal spirit and the increasingly isolating trend of personalized entertainment.“So if your hope is to watch *An ark* alone on your couch, you’ve missed the point,” the production makes clear. This isn’t simply a marketing message; it’s a philosophical statement. The creators understand that the true value of the experience isn’t in the individual journey through the virtual world, but in the shared processing of that journey with those around you.This sentiment is echoed by *An Ark*’s performer, Alex Stephens. “What defines [An Ark] is the shared experience of the audience,” Stephens stated. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.” This “transformation” is key. Immersive theatre, at its best, doesn’t just entertain; it challenges, provokes, and ultimately, connects us to our shared humanity.The rise of smart glasses,championed by companies like Meta and Apple,represents a significant investment in the future of personalized technology. [https://www.theverge.com/2023/6/5/23750648/apple-vision-pro-vr-ar-headset-announced-wwdc-2023] These devices promise to overlay digital information onto our real-world view, offering customized experiences tailored to our individual preferences. While offering potential benefits in areas like navigation, communication, and accessibility, they also raise concerns about social isolation and the erosion of shared experiences.*An Ark* offers a compelling counter-narrative. It demonstrates that technology can be used not to further isolate us, but to bring us closer together. By intentionally creating a shared, embodied experience, Tin Drum is reminding us that some things – like the power of collective emotion and the transformative potential of live performance – are best experienced

Beyond the Screen: How Tin Drum’s ‘An Ark’ Reimagines Theatre for the digital Age

Tin Drum, a New York-based immersive theatre company, is challenging conventional notions of performance with An ark, a groundbreaking production that blends live actors with augmented reality (AR) technology.The show isn’t about escaping into a solitary digital world; it’s about forging a collective experience, proving that even in an age of hyper-individualized technology, theatre can still be a powerfully communal art form.

The core of An Ark lies in its use of AR headsets, provided to each audience member upon entry. These headsets overlay a digital world onto the physical space, creating a layered reality where the boundaries between performer and spectator blur. But according to Tin drum’s artistic director, Tristan Eckert, the technology isn’t the point – it’s a tool to enhance the human connection at the heart of theatre.

“I remember him turning to Todd and saying, ‘if Shakespeare was alive today, he would be writing in this form,’” recalls a recent observer of Eckert’s creative process, highlighting the potential of AR to become a legitimate and compelling storytelling medium. [Source: Provided text]

As companies like Ray-Ban and Oakley invest in the development of smart glasses,aiming to make wearable tech mainstream,eckert remains committed to the communal aspect of his work. He has repeatedly declined offers from tech companies seeking to acquire the rights to his shows. “The point is to show people that no matter how old they are,no matter what their orientation is,no matter where they grew up,somehow there’s a piece of art that is delivered to them individually but collectively,and it applies and it resonates with everybody,” Eckert explained. [Source: Provided text]

This deliberate choice underscores a key distinction: an Ark isn’t designed for passive consumption. it’s not a show you watch alone on your couch. The experience is fundamentally tied to being physically present with other audience members, sharing a space, and collectively navigating the augmented reality.

“What defines [An Ark] is the shared experience of the audience,” says performer Alex Stephens. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.” [Source: Provided text]

An Ark represents a bold step in the evolution of immersive theatre, demonstrating how technology can be harnessed not to isolate, but to unite. It’s a reminder that even as our lives become increasingly mediated by screens, the power of live performance – and the shared human experience it fosters – remains vital.

Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, new York Theatre Guide, The hat, and more. They are also a supervising editor at Wirecutter. [Source: Provided text]

The Theatrical Rebellion Against the Solitary Screen: Why This Immersive Show Refuses to Go Digital

As technology races toward a future dominated by personalized, at-home experiences – exemplified by the burgeoning market for smart glasses from companies like Ray-Ban and Oakley – a unique theatrical production is deliberately bucking the trend.An Ark, created by Tin Drum, isn’t just an immersive show; it’s a pointed statement about the enduring power of collective experience, and a firm rejection of the isolating allure of individual digital consumption.

Tin Drum, known for its innovative and often site-specific performances, has built a reputation for crafting experiences that blur the lines between art and life. An Ark, like much of their work, relies on a shared physical space and a communal journey. This commitment to a shared experience is so central to the artistic vision that creator Kyle Eckert has repeatedly turned down lucrative offers from tech companies eager to digitize his productions.

“Tech companies have wanted to buy [my shows] and I have declined,” Eckert stated, emphasizing the core philosophy behind his work. “the point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody.”

This isn’t simply a nostalgic preference for traditional theatre. Eckert’s resistance speaks to a deeper concern about the impact of technology on human connection. While virtual reality and augmented reality promise immersive experiences, they frequently enough deliver those experiences in isolation. An Ark intentionally prioritizes the energy created when a group of strangers collectively navigates a narrative, witnesses the same events, and processes them together.

The show itself utilizes headsets, but not to transport audience members to separate virtual worlds. Rather, the headsets serve as a shared lens, augmenting the physical space and guiding participants through a carefully orchestrated environment. The experience is designed to be deeply personal, yet inextricably linked to the presence of others.

“So if your hope is to watch An Ark alone on your couch, you’ve missed the point,” Eckert makes clear. The power of the production isn’t in the spectacle itself, but in the reverberations it creates within the audience and amongst them.

This sentiment is echoed by An Ark performer, Stephens, who highlights the transformative potential of shared artistic experiences. “what defines [An Ark] is the shared experience of the audience,” they explained. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

This notion of transformation through collective witnessing is at the heart of theatrical tradition. From ancient Greek dramas to contemporary immersive installations, theatre has always provided a space for communities to grapple with complex emotions, explore shared values, and forge connections. An Ark isn’t just utilizing technology; it’s using it to enhance that fundamental human need for communal storytelling.

In a world increasingly fragmented by digital screens and personalized algorithms, Tin Drum’s deliberate choice to prioritize shared experience feels particularly resonant. An Ark isn’t just a show; it’s a quiet rebellion against the isolating tendencies of modern technology, a powerful reminder that some experiences are best felt – and transformed by – together.

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Jen Gushue is a freelance theatre writer with bylines in Town & country, TDF Stages, new york theatre Guide,The Hat, and more. They are also a supervising editor at Wirecutter.

Beyond the Headset: How Tin Drum’s An Ark Reclaims Theatre in the Age of immersive Tech

Tin Drum, a New York-based immersive theatre company, is pushing the boundaries of storytelling, but not in the way you might expect. While many productions are embracing virtual reality and augmented reality, Tin Drum’s latest work, An ark, deliberately prioritizes a shared, physical experience, even with the use of technology like smart glasses. This commitment to communal engagement, as highlighted in a recent feature, sets tin Drum apart and underscores a vital question: what truly defines theatre in an increasingly digital world?

An Ark, described as a “walking, immersive experience,” utilizes smart glasses to layer digital elements onto the real world, guiding audience members through a narrative journey. However, founder Tristan Eckert is adamant that the technology serves the story, not the other way around. He has repeatedly turned down acquisition offers from tech companies, believing that the core of his work lies in the collective experience of the audience. https://www.broadwayworld.com/boston/article/Tin-Drum-Announces-AN-ARK-Immersive-Experience-20240118

This resistance to purely digital consumption is a conscious one. Eckert envisions An Ark as a space where individuals from diverse backgrounds can connect through a shared artistic encounter. “The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” he explained. This echoes a long tradition in theatre – the power of a live performance to forge empathy and understanding across societal divides.

The Rise of Immersive Theatre and the Tech temptation

The past decade has witnessed a surge in immersive theatre, with companies like Punchdrunk (known for Sleep No More) and Third Rail Projects (with productions like Then She Fell) leading the charge. These productions often involve large-scale environments, intricate sets, and audience members moving freely through the performance space, becoming active participants in the narrative.

the integration of technology into immersive experiences is a natural progression. Smart glasses, like those used in An Ark, offer a way to enhance the environment, deliver personalized content, and create a more layered and dynamic experience. augmented reality (AR) and virtual reality (VR) technologies promise even greater levels of immersion, potentially transporting audiences to entirely different worlds.

However, this technological advancement presents a challenge to the fundamental nature of theatre. Traditionally, theatre is defined by its liveness – the presence of actors and audience in the same space, creating a unique and unrepeatable event. VR, by its very nature, can be a solitary experience, potentially isolating audience members from one another.

Tin Drum’s approach actively combats this potential isolation. The smart glasses in An ark are not meant to replace human interaction; they are designed to facilitate it. The experience culminates in a shared moment of removal,where audience members take off their headsets and process the journey together. As dramaturg Emily Stephens notes, “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Reclaiming the “Congregation”

Stephens’ use of the word “congregation” is deliberate.It speaks to the ancient roots of theatre,which can be traced back to religious rituals and communal storytelling. Ancient Greek theatre,for example,was deeply intertwined with religious festivals and civic life. The chorus, a central element of Greek drama, represented the voice of the community, commenting on the action and providing moral guidance.

Tin Drum’s An ark seeks to recapture this sense of collective experience. By emphasizing the shared journey and the post-performance discussion,the company is creating a space for dialogue,reflection,and connection. This is particularly relevant in a society increasingly characterized by digital fragmentation and social isolation.

The decision to prioritize the communal aspect of An ark also reflects a broader critique of the tech industry’s tendency to prioritize individual consumption. Streaming services, social media platforms, and video games frequently enough cater to individual preferences, creating echo chambers and reinforcing existing biases. Theatre, at its best, can challenge these tendencies by bringing people together and exposing them to different perspectives.

Tin drum’s work isn’t anti-technology; it’s pro-theatre. It demonstrates that technology can be a powerful tool

Beyond the Headset: How Tin Drum’s ‘An Ark’ Prioritizes Collective experience Over Tech

Tin Drum, the immersive theatre company known for pushing boundaries, is currently captivating audiences with An Ark, a production utilizing virtual reality headsets. however, unlike many ventures into the metaverse, Tin Drum isn’t aiming to replace live performance with digital isolation. Rather, they’re leveraging technology to enhance a communal experience, a deliberate choice championed by creator Joe Eckert.

“I’ve always been interested in how technology can be used to create a shared experience,” Eckert explained, reflecting on his artistic process. “If I were writing a play for the stage, I’d be thinking about how the audience is experiencing it together. And if I were writing for VR, I’d think, ‘Okay, how would he would be writing in this form.’”

As smart glasses from companies like Ray-Ban and Oakley continue to evolve, aiming to become the next major wearable tech – as detailed by Best Buy’s exploration of smart glasses – Eckert remains committed to the power of shared presence.He believes that’s what fundamentally defines theatre.

this commitment has led him to decline offers from tech companies eager to acquire the rights to his shows. “The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” eckert stated.

The intention behind An Ark isn’t to offer a solitary escape into virtual reality, but rather to foster a unique connection between audience members. The experience is designed to be shared,discussed,and processed together.

“If your hope is to watch An Ark alone on your couch, you’ve missed the point,” Eckert emphasizes.

This sentiment is echoed by fellow artist Stephens, who collaborated on the production. “What defines [An Ark] is the shared experience of the audience,” they explained. “we’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Tin Drum’s approach represents a thoughtful counterpoint to the frequently enough-individualistic nature of virtual reality experiences. By prioritizing collective engagement, An Ark demonstrates how technology can be used not to isolate, but to unite, reminding us of the enduring power of shared storytelling and the uniquely human experience of live performance.

Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New york Theatre Guide, The Hat, and more. They are also a supervising editor at Wirecutter.

Beyond the Headset: How Immersive Theatre Group Tin Drum is Prioritizing Connection Over Consumption

Tin Drum, a New York-based immersive theatre company, is forging a unique path in a landscape increasingly dominated by personal, technology-driven experiences. While virtual reality and augmented reality offer exciting new avenues for storytelling, Tin Drum is deliberately prioritizing the communal aspect of theatre, even as it embraces cutting-edge tech. Their latest production, An Ark, exemplifies this philosophy, utilizing VR headsets not to isolate audience members, but to deepen their shared emotional journey.

The company’s approach caught the attention of acclaimed director Todd Stephens, known for his work on films like Swan Song and stage productions including Fun Home.Stephens experienced An Ark firsthand and was profoundly moved by the experience. “I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” said Stephens, referencing a segment featuring the music of Ryuichi Sakamoto. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” https://www.broadwayworld.com/newyork/article/Tin-Drum-Presents-AN-ARK-Opens-October-27-2023-20231026

an Ark employs VR technology to create a deeply personal and emotionally resonant experience for each audience member, but crucially, it’s an experience designed to be shared. The production isn’t intended for solitary consumption; instead,the headsets are removed at a pivotal moment,prompting a collective departure and a shared processing of the performance.

This deliberate choice reflects Tin Drum’s artistic director, Zack Eckert’s, broader vision.As smart glasses from companies like Ray-Ban and Oakley https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387 promise to make wearable tech more mainstream, Eckert remains committed to the power of collective experience. He has repeatedly declined offers from tech companies seeking to acquire and potentially individualize his shows.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert explained. He believes that theatre’s unique strength lies in its ability to forge connections between strangers, creating a shared emotional landscape.

The emphasis on shared experience is central to the impact of An Ark. As Stephens observed, “What defines [An Ark] is the shared experience of the audience. We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Tin Drum’s approach offers a compelling counterpoint to the increasingly isolating nature of much of modern technology. By harnessing the power of VR not to replace human connection, but to enhance it, they are demonstrating a future for theatre that is both innovative and deeply human.

Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York theatre Guide, The Hat, and more. they are also a supervising editor at Wirecutter.

Beyond the Screen: How Immersive Theatre Company Tin Drum is redefining Storytelling

Tin Drum, a New York-based immersive theatre company, isn’t simply putting on shows – it’s building experiences. Their latest production,An Ark,utilizes augmented reality (AR) headsets to deliver a deeply personal,yet collectively shared,narrative,sparking a conversation about the future of theatre in an increasingly digital world. But, crucially, Tin drum’s founder, Zack Eckert, is adamant that the technology serves the story, not the other way around.

An Ark plunges audience members into a world where each person receives a unique, unfolding story delivered directly through AR headsets. This isn’t passive viewing; participants move through a physical space,interacting with the environment and each other,while the narrative adapts to their individual journeys. The effect, according to those involved, is profoundly moving.

“It’s like a dream you all share,” explains Morgan Stephens, a performer in An Ark. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” https://www.broadwayworld.com/newyork/article/Tin-Drum-Presents-AN-ARK-Opens-October-27-2023-20231027

This innovative approach comes as tech giants like Ray-Ban and Oakley invest heavily in the development of smart glasses,aiming to make wearable technology a mainstream reality. However,Eckert is deliberately resisting the allure of large-scale commercialization. He’s turned down acquisition offers from tech companies, prioritizing the communal aspect of his work.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert stated.

This emphasis on shared experience is central to Tin Drum’s philosophy. An Ark isn’t designed for solitary consumption. The power of the production lies in the post-show discussion and the shared sense of transformation. As Stephens puts it, “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Tin Drum’s work challenges the conventional boundaries of theatre, demonstrating how technology can enhance, rather than replace, the human connection at the heart of storytelling. In a world increasingly dominated by individualized digital experiences, an Ark offers a compelling reminder of the power of collective emotion and shared narrative.

Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The Hat, and more. They are also a supervising editor at Wirecutter.

Beyond the Headset: How Tin Drum’s An Ark is Redefining Theatrical Experience

Tin Drum, a New York-based immersive theatre company, is pushing the boundaries of performance with An ark, a groundbreaking production that blends live actors with augmented reality (AR) technology. The show, which recently captivated audiences at the Sheen Center for Thoughtful Living, isn’t about escaping into a solitary digital world; it’s about forging a collective experience amplified by personal, intimate technology.

For Tin Drum founder and artistic director Tee Eckert, the integration of AR isn’t a gimmick, but a means to deepen the communal heart of theatre.“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert stated, declining offers from tech companies to purchase and privatize the show’s technology. https://www.americantheatre.org/2024/02/01/tin-drums-an-ark-blends-live-performance-with-augmented-reality/

An Ark utilizes custom-built headsets to overlay digital elements onto the live performance, creating a uniquely personalized experience for each audience member. The show’s narrative, inspired by the biblical story of Noah’s Ark, explores themes of climate change, displacement, and the search for hope. However, the AR isn’t simply illustrative; it’s integral to the storytelling. Audience members witness different scenes and perspectives based on their location within the performance space and the direction they are looking, fostering a sense of individual agency within a shared narrative.

The production’s success hinged on overcoming initial skepticism, particularly from veteran actor Sir Ian McKellen, who plays a central role in An Ark. Eckert and creative producer Stephen Stephens initially worried about convincing McKellen,known for his traditional stage work,to embrace the technology. However, a demonstration featuring a piece by composer Ryuichi Sakamoto quickly changed his mind.

“I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” Stephens recalled. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” https://www.americantheatre.org/2024/02/01/tin-drums-an-ark-blends-live-performance-with-augmented-reality/

The development process was remarkably swift, with the entire production – from initial concept to opening night – completed in just a few weeks of rehearsals and capture. This rapid turnaround was facilitated by the company’s existing expertise in immersive environments and their willingness to experiment with new technologies.

As companies like Ray-Ban and Oakley continue to develop smart glasses, aiming to make wearable tech more mainstream, Eckert remains focused on the communal aspect of Tin Drum’s work. He believes that the power of theatre lies in its ability to bring people together, and that technology should serve to enhance, not replace, that connection.

Stephens echoes this sentiment, emphasizing the transformative potential of the shared experience. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

An Ark isn’t designed for solitary viewing. It’s a call to gather, to witness, and to be moved – together.

Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The Hat, and more. They are also a supervising editor at Wirecutter.

Beyond the Headset: How Immersive Theatre group Tin Drum Rejects Tech Acquisition to Preserve Shared Experience

Tin Drum, a groundbreaking immersive theatre company, is captivating audiences with productions like An ark – a show experienced through virtual reality headsets. However, unlike many tech-forward ventures, Tin Drum is deliberately resisting acquisition by tech giants, prioritizing the communal, transformative power of live performance over individual, isolated consumption.This commitment to shared experience,even with the use of cutting-edge technology,is what defines their work,according to those involved.

The impact of An Ark is profound, as witnessed by producer Stephens, who recounted a particularly moving moment. “I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” Stephens said. “I remember him turning to Todd and saying, ‘If Shakespeare was alive today, he would be writing in this form.’” https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387

This sentiment highlights the artistic potential of immersive technologies, a potential increasingly explored as companies like Ray-Ban and Oakley develop smart glasses aiming to become the next major wearable tech.Yet, Tin Drum’s founder, Eckert, remains resolute in his vision. He has repeatedly declined offers from tech companies seeking to acquire his shows.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert explained. He believes the true value lies in the collective resonance of the experience, a shared journey that transcends individual backgrounds.

This is a deliberate rejection of the isolating tendencies frequently enough associated with virtual reality. An Ark isn’t designed to be enjoyed in solitude; its power is derived from the audience’s shared participation.As Eckert emphasizes, attempting to experience the show alone fundamentally misses the point.

Stephens echoes this sentiment,stating,“What defines [An Ark] is the shared experience of the audience. We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

Tin Drum’s approach underscores a crucial debate within the evolving landscape of immersive entertainment: can technology truly enhance theatre without sacrificing its core element – the human connection forged through a shared, live experience? For Tin Drum, the answer is a resounding yes, but only if that connection remains paramount.

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jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The Hat, and more. They are also a supervising editor at Wirecutter. https://www.nytimes.com/wirecutter/**

Beyond the Headset: how Immersive Theatre Production An Ark Prioritizes Shared Experience Over Solitary Tech

Sir ian mckellen, a theatrical icon known for roles ranging from Gandalf to Shakespeare’s most celebrated characters, found himself captivated by a new form of storytelling.The catalyst? An Ark, an immersive theatre production by Tin Drum Productions that utilizes virtual reality (VR) headsets not to isolate audiences, but to forge a deeper, collective experience. This innovative approach, and the deliberate resistance to purely digital consumption, is at the heart of what makes An Ark – and Tin Drum’s work – so compelling.

The production, spearheaded by creator and director Dustin Eckert, leverages technology to enhance, not replace, the communal nature of theatre. According to Nathan Stephens, a collaborator on the project, McKellen’s enthusiastic response was pivotal. “I remember him putting the headset on and watching the Sakamoto piece with this wonder and childlike joy,” Stephens recounted. “I remember him turning to Todd and saying,‘If Shakespeare was alive today,he would be writing in this form.’” https://www.americantheatre.org/2024/01/26/tin-drum-productions-an-ark-immersive-theatre-vr/

However, Eckert is adamant that the technology serves the art, not the other way around. As smart glasses from companies like Ray-Ban and Oakley gain traction as potential future wearable tech https://www.bestbuy.com/discover-learn/what-are-smart-glasses-and-how-do-they-work/pcmcat1718816435387, and tech companies express interest in acquiring his productions, Eckert has consistently declined offers. His vision centers on a shared, transformative experience.

“The point is to show people that no matter how old they are, no matter what their orientation is, no matter where they grew up, somehow there’s a piece of art that is delivered to them individually but collectively, and it applies and it resonates with everybody,” Eckert explained. He actively resists the trend toward individualized, at-home entertainment, believing the power of An Ark lies in its collective impact.

This isn’t about providing a solitary VR experience to be enjoyed on a couch. An Ark is intentionally designed to be witnessed together. Stephens echoes this sentiment, emphasizing the lasting effect of the shared journey. “We’ll take the headsets off and then we’ll leave together and we’ll be changed together. I think there’s something in the possibility of transforming a congregation of strangers that’s innately and unarguably theatrical.”

The success of An Ark demonstrates a powerful counterpoint to the increasingly isolating nature of digital life. By harnessing technology to foster connection and shared emotion, Tin Drum Productions is redefining what it means to experience theatre in the 21st century – proving that even in a world of individual screens, the most profound experiences are often those we share.

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Jen Gushue is a freelance theatre writer with bylines in Town & Country, TDF Stages, New York Theatre Guide, The hat, and more. They are also a supervising editor at Wirecutter.