XR eLearning Experiences: Adapting Immersive Theater Methods

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We must look past the methods employed by the 2-D video, games, software, and other media, to know how to create engaging and XR eLearning adventures. We must look to an immersive theater and different live immersive experiences for lessons on story structures, audience interaction, picture composition, choreography, improvisation, and Gesamtkunstwerk. These time-tested methods translate into XR.
How immersive theater informs XR
Immersive theater is a kind of live theater in which the audience, at times, interacts with the celebrities and can physically go around the set. I’ve not attended several varieties of immersive theater, I’ve also written, produced, and directed theater. I heard a lot from these experiences. Listed below are a couple of lessons that could be employed to creating XR training simulations:
Facilitators
Some immersive theater includes a facilitator; in other words, a performer who guides the audience through the experience (e.g., “Quick, go through that door!” Or “OK, would you like to choose X or Y?”). Facilitator personalities can readily be incorporated into XR eLearning experiences.
Audio and other sensory input
Many immersive theater productions often rely upon to direct the audience’s attention. Because the immersive theater audience–or XR experience visitor–can look or move wherever they need at all times, we will need to gently guide their focus to the primary points of interest (PoI) to keep the activity and story moving forward. This is one of many reasons that immersive audio is arguably more significant for creating a presence in XR visual consequences.
When possible, also, if it serves the learning goals of the experience, we may want to appeal to other sensations too, like haptic vibrations in the hand controllers, a SubPac vest, blowing air, or even tastes and smells administered by someone outside the virtual experience.
Duration
Experiential theme park rides, such as The Haunted Mansion in Disneyland, are just another sort of immersive theatrical experience. Ride designers must contend with brief audience attention spans, motion sickness, and the requirement for frequent breaks to allow celebrities and other personnel a chance to reset and get ready for the next group. Thus, instead of having one four-hour roller coaster with stars chatting the whole time to one-on-one with each audience member, these rides are inclined to be a series of experiences that don’t need much, if any, the interaction between the audience members.
Similarly, VR will make less motion sickness and be more productive and more engaging when visitors can try out a collection of shorter learning experiences, removing the headset between to explore the experience with a trainer, read something about the lesson, or have a quiz.
Thematic logic
Some theater adventures that are immersive employ nonlinear storytelling. That is, the story may not advance, and audience members might not even get to see. No matter there still has to be some logic that is thematic to provide a framework for comprehension and to stop complete confusion. For instance, the story is likely to revolve around one location (since it’s not easy to move to a new location or change the set), and the story often contains one or more protagonists that the audience can mentally connect to and trace around. Similarly, XR experiences work as nonlinear stories. If we do abandon linear storytelling techniques, we must think about the kind of logic we’ll employ to ensure that visitors do not become confused and stop the experience.
Space
The theater is based on the effective use of space. This occurs in a physical connection. Here are some questions that assist immersive cinema designers in using space
Would the scenes be written? How can individuals the items, and PoI interact to make meaning?
How many rooms are there, and where are the doors?
Are celebrities close up or far away?
Are the celebrities crouching next to a fence, yelling and currently whispering and leaning through a window, or while walking out in the open, chatting with a friend?
Where is the audience about each object, the actors, PoI, and activities?
Similarly, with intention, space must be utilized by us in XR. We can not just make what effectively amounts to 2-D scenes shown in a virtual environment. Instead, we must use the z-axis, a.k.a. The next dimension, to fully understand the capabilities of the medium. Make sure every person, object, or element from the scene is there for a reason. Either take it out of the spectacle, if it does not have a goal or find a purpose for this.

“Steal to be an artist. Every new idea is just a mashup or remix of a couple of preceding ideas.”
-Austin Kleon Like an Artist

We must learn from life experiences that are immersive and immersive theater because immersive theater is an immediate progenitor of XR. As we do, we could borrow the most prosperous elements, such as the ones described above, which enhance our XR eLearning experiences and will inform.

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