“A Way not to See”: Immersive Dramaturgies of Migration and Displacement

Research output: Contribution to journalArticle (Academic Journal)peer-review


This article looks at dramaturgical practices within a recent visual and immersive migrant theatre and refugee performance initiative that questions both the politics and representations of memory. Drawing on Caroline Williams and Reem Karssli’s recent performance work Now Is The Time to Say Nothing (2018), I examine emerging dramaturgical models that deal directly with both lived and witnessed memories of war and refugeedom today. The article maps new aesthetics created through visual and immersive dramaturgical practices and explore the ways in which such aesthetics might challenge and shape existing testimonial narratives of migration. This production is an important work among a growing number of visual and participatory initiatives that build on activist aesthetics. I will argue that such explorations are increasingly important as they challenge dominant media portrayals and foster a re-evaluation of complex identities and ideologies amidst recent shifts in global politics and economics.
Original languageEnglish
Pages (from-to)131-147
JournalCoup de Théâtre
Publication statusPublished - 7 Dec 2021


  • Immersive dramaturgy
  • refugee performance
  • migrant theatre
  • activist aesthetics
  • memory


Dive into the research topics of '“A Way not to See”: Immersive Dramaturgies of Migration and Displacement'. Together they form a unique fingerprint.

Cite this