Between fiction and reality. How immersive theatre breaks down all kinds of barriers.
What happens when the illusion of the fourth wall is shattered? Since its origins in the ancient Greek plazas, theatre has been a living art, constantly reinventing itself. Yet, the rise of immersive theatre has undoubtedly been one of its most revolutionary transformations. This format breaks away from the classic division between stage and audience, inviting us to become active protagonists in stories unfolding around us. In this article, we’ll take a brief look at how theatre has evolved toward this new way of experiencing culture—and what it might mean for the future of live entertainment.
Photo: LETSGO. Production: Tacones Manoli.
From the beginnings: Classical theatre to the avant-garde
The multifaceted nature of theatre is nothing new. In ancient Greece, it was much more than entertainment: it was ritual, social act, and often a political tool. The stone seats of the Theatre of Epidaurus witnessed the tragedies of Aeschylus, Sophocles, and Euripides —and the satires of Aristophanes. In these plays, the chorus commented on the action— giving us the first kind of “active audience” in history— while masks amplified voices and expressions, and the proscenium marked the boundary between actor and spectator. As Brockett (1968) notes:
In Greek theatres, the auditorium and the skene were always architecturally separate units.
With the expansion of Rome, theatre became less ritualistic and more spectacular. Audiences now prioritized “having a good time,” guided by playwrights like Plautus and Terence, rather than reflecting on the fate of heroes. Semicircular theatres, like the one in Mérida, hosted comedies, tragedies, and even spectacles mixing music and dance.
By the Middle Ages, theatrical performances moved to public squares and church atriums. Religious plays and popular farces brought sacred and comic stories to diverse audiences, from peasants to nobles. In Spain, figures like Juan del Encina or the anonymous author of Auto de los Reyes Magos laid the foundations for a tradition that would flourish centuries later.
The Renaissance and Spain’s Golden Age restored theatre to its glory. Lope de Vega, Calderón de la Barca, and Tirso de Molina entertained with tales of love, honor, and deceit; in Elizabethan England, Shakespeare explored new shades of tragedy, while in France, Molière redefined satire.
Throughout these centuries, the separation between actor and audience remained unbreakable. That physical and symbolic distance —once seemingly essential to the genre— began to be questioned and challenged in the 20th century.
Photo: LETSGO. Production: Tacones Manoli.
Avant-garde artists understood the urgency of giving the audience a new face. Brecht’s epic theatre, for instance, pushed spectators to adopt a critical, reflective stance: speaking to the audience, using signage and artificial lighting, and so on. Beyond mere emotion, it was necessary to take a position and analyze the socio-political context of the work.
Antonin Artaud, with his Theatre of Cruelty, aimed to shock audiences, especially through sensory stimulation: light, sound, movement, space, color… On one hand, theatre directly challenged the spectator to provoke an “awakening”; on the other, it immersed them in a radical sensory experience. In this sense, the genre showed the first glimpses of its future immersive incarnation.
But had the historical moment truly arrived for such a radical change in how theatre is conceived and consumed?
Laying the groundwork in the 1960s and 70s
In the 1960s and 70s, the time didn’t yet seem right for a full-blown immersive theatre revolution. Though reinterpretations—and deconstructions—of classics were underway, Schechner (2002) notes the persistence of certain “tacit limits” that constrained the theatrical experience. In that context, The Performance Group —an experimental company founded by Richard Schechner in New York in 1967— carried out radical theatrical practices in its production Dionysus in ’69, based on Euripides’ Bacchae:
Within this context, The Performance Group explored the most radical theatrical means we could handle: audience participation, environmental staging, multiple perspectives, etc. These combined with the traditional theatrical means of our culture: storytelling and characterization. (Schechner, 2002)
Despite these innovations, and the “tacit limits,” the work was not praised for its inventiveness or experimental aura, but criticized —by some professionals and spectators— for “violating” the original material.
Though Schechner’s work was too transgressive for audiences and critics at the time, it laid the conceptual foundations of what we now call immersive theatre. Experimenting with active audience participation, unconventional spaces, and multi-layered narratives foreshadowed a genre that would find its full expression decades later.
Photo: LETSGO. Production: Tacones Manoli.
The contemporary audience
The revolution of immersive theatre lies primarily in the development of the audience’s experience. Breaking the fourth wall shifts spectators from passivity to action, defining a new way to live and understand every story.
In a context of ever-expanding leisure options —digital platforms, interactive experiences, constant technological stimuli, or travel— theatre has had to reinvent itself. Embracing immersive forms is also a strategy to fit into the complex puzzle of contemporary entertainment.
Modern audience psychology shows an increasing inclination toward immersion, interactivity, and the pursuit of intense emotions. Recent studies highlight that active participation heightens empathy and emotional engagement, that unconventional environments force us to recalibrate our behavior, and that shared experiences amplify emotional resonance.
In this framework, immersive theatre is not just an aesthetic innovation; it’s a natural response to an audience that no longer settles for passive observation, they want to be transported, to feel, and to make choices within the story.
The rise of immersive theatre
Although precursors existed in Latin America —De La Guarda in Argentina and Theatre of the Oppressed in Brazil—, the true leap toward today’s immersive theatre happened in late 20th-century London. For collectives like Schunt, the work was experienced as a social and performative space; spectators didn’t follow a linear plot but navigated environments where events occurred simultaneously. They were the precursors to Punchdrunk, consolidating the idea that theatre could be labyrinthine, fragmented, and experiential.
Productions like Sleep No More in New York have spread the format, captivating urban audiences. Works merge classic literature with disruptive, innovative staging. Sleep No More, for instance, places Macbeth in an open environment where spectators choose their path, making each experience unique. In San Francisco, Then She Fell takes immersion further with an intimate staging of Lewis Carroll, making the audience feel like part of Alice’s world.
Photo: LETSGO. Production: Tacones Manoli.
LETSGO and immersive theatre in Spain
In Spain, where audiences and the theatre scene are traditionally more conventional, immersive theatre has progressed cautiously. LETSGO has bet heavily on this format, bringing it closer to an increasingly curious audience about new entertainment forms.
Reinventing the traditional cultural experience has been a task LETSGO has taken on almost unconsciously. A standout example is Tacones Manoli, a unique proposal —based on The House of Bernarda Alba— that combines a culinary experience with flamenco immersion. For over two hours, audiences freely explore an 18th-century palace in Madrid, choosing which artists and moments to discover. The simultaneity of performances and freedom of movement make every experience personal and unrepeatable. To maintain atmosphere and a sense of collective anonymity, all visitors wear masks throughout, heightening immersion and connection with the surroundings.
Similarly, the new Cabaret production presents itself as an immersive experience where spectators don’t just watch, they dive into 1930s Berlin. The theatre layout, with no classical stage, eliminates traditional distance and fosters an intimate, participatory environment.
Impact on audiences and the cultural market
Immersive theatre is, in many ways, the natural evolution of an art form always attuned to social change. It blends centuries of theatrical tradition with contemporary creative and technological possibilities. Its greatest achievement is attracting new audiences and opening cultural experiences to those who rarely visit the theatre.
The future of immersive theatre points to integrating new technologies to enhance the experience. Augmented and virtual reality, artificial intelligence, and even digital hybrids promise ever more enveloping worlds.
Constant innovation and connecting with new generations —mindful of their needs— will be key to this format’s ongoing evolution and its ability to spark curiosity in fresh audiences.
By the LETSGO Pen, Claudia Pérez Carbonell, on August 26th, 2025
