This book documents and critically analyses emerging forms of virtual reality performance through the lens of 'expanded dramaturgies', using a series of compelling case studies: from group VR exhibitions to live VR performances for one audience member, and from participatory immersive experiences to narrative-based VR applications.

Harry Wilson brings the work of cutting-edge VR production companies and digital artists into conversation with that of intermedial performance practitioners, gathering varied case studies including ZU-UK, Marshmallow Laser Feast, Anagram and Tender Claws. Rather than examining these areas of VR production in isolation, this book demonstrates the value of situating a range of VR practices as an interconnected field of many sites of performance.

Theatre and performance makers are increasingly experimenting with the use of immersive technologies in their work, while VR game developers, digital artists and creative technologists are exploring new forms of immersive storytelling that draw on dramaturgical practices and utilize methods of audience engagement found in immersive performance. This book examines the meeting points between virtual reality and theatre and performance. It argues that thinking about virtual reality and performance through expanded dramaturgies can help us to develop a more politicized response to these works.

In taking this approach this book asks a series of questions: What are the theoretical, compositional and dramaturgical intersections between VR and performance? What kinds of narrative practices, audience experiences and perceptual possibilities are enabled? What methods are best suited to analyzing this kind of work? And what ethical, political and economic questions are posed by this emerging field of practice?