The Immersive 5 with Brian Sanders, founder of JUNK

Since 1992 choreographer and dancer Brian Sanders has challenged the idea of what a dance concert can be with his company JUNK. More precisely Brian Sanders’ JUNK, so you get the full effect of the company’s sense of humor. From visual arresting acts that mix symphonies with circus arts to interactive, video game like constructions that pit dancers and audiences against each other in play combat.

An openly gay artist and a long-term survivor of HIV, Sanders is one of the long standing luminaries of the Philadelphia performing arts scene. Many of his creations bow at the Philadelphia Fringe Festival, and while not everything the company does is immersive, it’s all done with a spirit of experimentation that leads audiences to anticipate what wonders will come next.

—

The Immersive 5 series asks creators across the various immersive disciplines the same five questions in search of both their approach to crafting work, and the elusive nature of immersive work itself.

Get Noah J Nelson’s stories in your inbox

Join Medium for free to get updates from this writer.

SubscribeSubscribe

—

NO PROSCENIUM: What does “immersive” mean to you, and what terms do you use when talking about your own work?

BRIAN SANDERS: Honestly, I have a broad definition: I feel like the first time I personally felt immersed was when I was a kid walking into a broadway show for the first time. I had never seen a theater like that and the Billboards out front to the final bow were an “immersion” into an experience. It was thrilling. So years later, for me the immersion is the first to last experience of the program. The immersion comes from creativity and direction of the program (either intentionally or not) working to extend the experience beyond the “stuff on stage”. It’s when my experience as an audience member is as creative and important as the work itself.

NP: What should every creator be thinking about first and foremost when designing for the audience?

BS: For me, it’s mostly that I should try and think of everything and that when I think I have thought of everything, think some more because audiences see things we can never predict. Every audience member is coming from a different place in life and from a different place that day. I go for a strong sense of transition at the very onset. The more I can reset them right away into a new world, the more ground zero and open they will be to the experience.

NP: What did you wish you knew when you were starting out with this stuff and what’s the one thing you’d tell a creator starting out today?

BS: I will always, back then and now, wish myself more patience. Starting out or 30 years later, always be bold and brave just go for it.

NP: Why do this kind of work and not something more “traditional” that might have more mainstream appeal at the moment?

BS: Hah I feel like immersive is getting too mainstream 😬. It’s not that I have always felt uncomfortable inside the box, I love the box and those traditions. Truth is I live being inside the box and trying to find creative ways to reinvent the sides of the box.

NP: What inspirations — and anything is fair game here — are currently shaping your creative practice?

BS: Lately I have been reaching outside of my comfort zone and working with artists from different genres and vernaculars. They are tremendous and it’s always inspirational.

Discover the latest immersive events, festivals, workshops, and more at our new site EVERYTHING IMMERSIVE, new home of NoPro’s show listings.

NoPro is a labor of love made possible by our generous Patreon backers. Join them today!

In addition to the No Proscenium website, our podcast, and our newsletters, you can find NoPro on Twitter, Facebook, YouTube, Instagram, in the Facebook community Everything Immersive, and on our Discord.