If we recap, then, is it fair to say that the Full Dome experience has two elements, an element of enhancing the theatre experience by way of the technical advances being offered, and a mental health aspect to this architecture as well?
In theatrical performances in domes the audience surrounds the performance space, much like an updated version of ‘theatre-in-the-round,’ but here projected images and sonic sound can be above and around them. Sometimes the images could be on the audience and on the floor as well.
In “Lucia Dances”, the dancer, is moving and acting, and interacting, with the visuals and sound. I can envisage productions where the audience can also interact with the technology and become a more integral part of the action. These principles could equally be applied to much bigger productions and I’ve recently been considering how I would produce Shakespeare’s, “The Tempest” in a dome.
And, as I have suggested, there is evidence that there are also potential health benefits from being in this type of space, but that needs research.
Where to now?
Hopefully we will be included in the FDUK 2026 programme in Cardiff in October. This will give us the first real opportunity to test our ideas in a Full Dome, because there are so few domes capable of hosting theatre performances,
I want to explore the idea of designing and building a portable dome that is configured specifically for technologically supported immersive theatre. There are two structures that I think we could learn from – Manchester Royal Exchange ‘Den’ project and Paines Plough’s ‘Roundabout’.
But a portable custom-made structure is a dream for the future. The priority at present is funding applications to continue working on the project and FDUK 2026 in October in Cardiff.
If you would like to see more of Alistair Livingstone’s work go to the following links
