CHRISTINE JONES is a Tony-winning set designer and the artistic director of the critically acclaimed Theatre for One, a portable private performing arts space for one performer and one audience member. Most recently, she directed the sensational immersive nightclub dining experience Queen of the Night, which New York Magazine has called the “hottest nightlife experience in town”.
Odyssey Works: How do you understand immersivity and interactivity? How do they work and what is the point?
Christine Jones: I guess the most straightforward response is to say that immersive experiences operate with no fourth wall, and sometimes no walls at all. There are many degrees of interactivity, but at the core, interactive work doesn't pretend that no one is watching. The watcher and the watched are aware of and responsive to each other. There is an acute awareness of their dependence on each other. If there is no audience, there is no performer, and vice versa. I find that when this interdependence is made a primary part of the experience there is an added depth. I believe this is true of non-theatrical experiences as well, in which there is a giver and a receiver but no performance. When people interact in ways that are fully present in the moment, be it theatrical or magical, their experience can become more transcendent.
OW: Why create experiences?
CJ: As a parent, I am aware of creating a world where Santa Claus and the Tooth Fairy exist for my kids. When they die, it's our job to make other kinds of magic. I love what Charlie Todd of Improv Everywhere said. He said he wanted to live in a world where anything can happen at any moment. His work makes our world just such a world...I think everyone has a desire to be surprised, delighted, moved, and transported. If we don't do this for each other, no one else will. Our parents will make magic for us when we are young; when we are older, we have to make it for ourselves and each other.
OW: What are you trying to do with your work?
CJ: This probably sounds horribly pretentious, but lately I have been thinking of myself as an artist who uses intimacy the way a painter uses paint. My intention with all of my work is to enhance a feeling of connection and presence that makes people feel seen, and sometimes, especially with Theatre for One, loved. It is always amazing to me how simple acts of kindness and generosity are so deeply appreciated. We very rarely slow down enough to feel truly with other people. I am trying to create fruitful circumstances for a gift exchange between audience and performer. Whether it be a big Broadway show, or an immersive dinner theatre experience, or Theatre for One, I am hoping to create a space and relationships within the space that allow the audience to feel that they are receiving a beautiful experience, and in return they are giving the performers or creators the gift of their full presence and attention.
OW: What is the collaboration between artist and audience as you see it? Where is the artwork itself located?
CJ: When we worked on Queen of the Night, we did a workshop for the actors with a dominatrix. She described creating a reciprocal energy loop between herself and her clients. I think this is where the artwork is located, if you can create that loop. In the best circumstances the collaboration happens in the contract the artist and the audience make to engage in these roles. "I will perform," "I will watch," or "I will create," "I will receive." Sometimes this is unwritten and happens spur of the moment in a pop-up performance, sometimes it happens with a ticket purchase, or an application process as with Odyssey Works, but there is a moment where artist and audience commit to a relationship, and from there the artwork flows in the energies they exchange and how they are exchanged. Is it an energy loop, or a game of tennis, or two groups on either side of an invisible wall. I love how immersive and interactive work makes us much more aware of our roles as participants.
OW: What is the role of wonder and discovery in your work?
CJ: I once heard someone describe themselves as a serial epiphanist. I think it is a great way to express the desire to be filled with wonder that I think we all have. I visited an installation called The Infinity Room by David Wheeler at a gallery in Chelsea a few years ago. I was struck by how being inside a space that truly did feel infinite felt like what I imagined death might feel like, and I was also struck by how much it felt like being engulfed by love. When we never stop feeling wonder and never stop making discoveries, then it means we live in an infinite world with no end of imagination and generosity. It means that at least while we live, anything is possible and at any moment something you never imagined was possible might happen to you. And how much more beautiful life is when we as mortals and fellow travelers make these experiences come alive for each other.
OW: Who are your influences? Can you describe an experience in which art changed you?
CJ: I remember the first experience that blew my mind was seeing Fuerza Bruta in Montreal at an International Theatre Festival when I was maybe twenty and just finishing school studying theatre design. The electricity that coursed through my veins to have performers running past me and an apocalyptic universe coming to life all around the space was an eye-opener as to what an event could look and feel like. Later on, having a magician perform a magic trick for me and me alone at a wedding made magic feel like the most beautiful intimate gift one could receive. It was an intoxicating feeling that made me hungry to experience other work in private settings. Lewis Hyde's book The Gift helped me understand what I was trying to do in creating an artistic process of gift exchange. Improv Everywhere, Odyssey Works, Wanderlust (now Sextantworks), have all been extremely influential and inspiring. I feel fortunate to be engaged in so many different but related forms of theatre and experiential work that is both personal and commercial and sometimes even illegal, but all in service of reminding us that the barriers we experience in space and in our relationships can be dissolved.