Aida Rocci

Aida Rocci
regional managing editor - United Kingdom

Aida Rocci is a Spanish theatre artist currently based in London. She was the production dramaturg for shows such as Eve Ensler’s In the Body of the World directed by Diane Paulus and Peter Brook’s The Man Who directed by Marcus Stern. She holds a Master in Fine Arts in Dramaturgy and Theater Studies from the American Repertory Theater /MXAT Institute for Advanced Theatre Training at Harvard University. Her master thesis, A New Kind of Joy: The Theatre of Dmitry Krymov, is the largest piece on the Russian director to have been written in English. She has taught at Harvard University’s Theatre Dance and Media Department as a Teaching Fellow. She also founded The Harvard Cabaret and is a member of Phi Beta Kappa.

“The Grift”: Theatre or Escape the Room?

Theatre as a concept is related to the idea of “play.” After all, scripts are plays and actors play roles. However, it is not often that these words are dissected to reach the idea of “game.” This is why, when arriving at the charming Town Hall Hotel for the site-specific, immersive, interactive production of The Grift, it was surprising to hear the hotel staff commend the play as a “very fun game.” Soon enough, the 50 audience members were given color bracelets that would divide them into different “teams.” This game-like audience division is not unheard of in immersive...

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Nassim Soleimanpour and the Manila Envelope Theatre

Seven years ago, a new play challenged the role of the actor, the playwright, the audience, and the capacity of one individual to travel. The play was White Rabbit Red Rabbit, written by the mysterious Nassim Soleimanpour, an Iranian writer who encouraged the audience to email him with impressions about his play.

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Foreign Radical: The Intimate Power of Interactivity

Please, take your laptops out of the suitcase. Liquids in a plastic bag. No belts. No shoes. Little by little, we have given up freedom, comfort, and some rights in exchange for security. Looking at the recent events, the terrorist threat, it seems reasonable. Trusting that someone is keeping us safe, we have gotten used to mindlessly going through security procedures. And yet, there is a sense of uneasiness every time you pass through a metal detector. You are being watched; you are being judged; you could be considered suspicious. Foreign Radical is a new interactive piece by the...

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Secret Cinema’s “Moulin Rouge”: The Bohemian Revolution in Immersive Format

At the core of Secret Cinema, there is the promise of daring to be different. Combining the realms of large cinema screenings, theatre and immersive spaces, they offer unique experiences surrounded by mystery. Most reviewers keep the secrecy as to not spoil the event for others, so the audience can only speculate what they are in for from a few videos here and there, and word of mouth accounts. Since 2007, they have dared to approach epic films like Star Wars, Dirty Dancing, Back to the Future, The Third Man, and this year, Moulin Rouge. Although their reputation may...

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“Alice’s Adventures Underground”: New Immersive Limits Down the Rabbit Hole

“Drink me” or “Eat me.” Like Neo, in The Matrix, you are presented with a simple dichotomy that will have immediate consequences in your reality. In the acclaimed Alice’s Adventures Underground this choice will determine your suit—diamonds, hearts, spades or clubs—and your suit will, in turn, set your path for your adventure. It is indeed your adventure; while this stunning immersive theatre experience is based on Alice’s Wonderland, this is the audience’s adventure. Les Enfants Terribles have thus broken the general model in which immersive theatre treats the audience as mere spectators, voyeurs in a theatrical world. The immersive...

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Romeo, Juliet, and You: CoLab Theatre is Back Challenging the Bard with Interactivity

“But he which bore my letter, Friar John, Was stay’d by accident, and yesternight Return’d my letter back” With those three lines, Shakespeare explains what sealed the tragic destiny of Romeo and Juliet. The convoluted plan that would have allowed them to be together would have worked if only this “Friar John” had delivered the letter. As an immediate cause for the lovers’ tragic end, it does lack certain grandiosity—it is essentially the Elizabethan equivalent of “he got stuck in traffic.” In the 20th-century musical adaptation by Jerome Robbins, West Side Story, this fate flaw had a little more...

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Building Bridges: A Transcultural Collaboration Between Spain and the UK

Rodrigo Arribas (from Span’s Fundación Siglo de Oro) describes the transnational collaborative process that gave rise to his company, which has been the first to present a non-English speaking author at the Shakespeare Globe. Reflecting on the models that have arisen from the collaboration between Spain and the UK, he reflects on what differentiates and unites us in theatre.

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“A Doll’s House”: Actors in Reality Theatre

A lonely corner at night in the London neighborhood of Hackney. A group of strangers meet, hesitantly asking each other “Are you here for a play?” It is not a code word. They are there (or in any other of the secret locations that vary each night) for a performance of Ibsen’s A Doll House as created by the Danish company Fix & Foxy. Soon this unlikely group is greeted by three English theatre artists who introduce the play. Ibsen was the champion of Realism, so this production of its most performed play centers on reality by taking the audience...

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“An Inspector Calls”: Blasting Open the Drawing Room

J. B. Priestley’s most famous play An Inspector Calls has had quite an interesting life. Written in England by an Englishman, it premiered in Moscow during World War II. Although the play digs into the United Kingdom’s social structure and its responsibility, Priestley, a fervent socialist, affirmed there was no appropriate theatre for it in England at that time. A year later, in the idealistic post-war mood that elected liberal Clement Attlee over Winston Churchill, An Inspector Calls was a huge success in the West End. It went on to become a film and even a TV series. But,...

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