three of the foremost experiential provocateurs , each with a different approach . Here ’ s how they explained the matter :
Maximo Recio , Lead Designer of United Visual Artists attributes the magic to cross-cultural pollination : “ Like any other design discipline , experiential design relies on sociocultural factors and rational layers of meaning . However , at its very core , there is a strong sensorial element that resonates with us at a very fundamental level . Britain is , and has always been , a crossroads of many different cultures and languages , which I believe fosters a certain sensitivity for this kind of shared , deep-rooted forms of communication .”
Colin Nightingale , Creative Producer of Punchdrunk sees it like this : “ For years the UK has been at the centre of so much of the best in live music , club culture , festivals , theatre , dance , literature , art and design . With so much rich inspiration and a natural desire to innovate , it ’ s not surprising that over recent years , so many British creatives have been leading the charge to combine different strands of artistic expression . Culture has become more valued and part of the national identity . There is a restless energy to push the boundaries of what Art and Entertainment can be in the 21st century , resulting in remarkable experiential projects being exported to the rest of the world .” James Seager , Creative Director of Les Enfants Terribles shares his insights : “ Britain has always been at the forefront of theatre and performance which has inevitably led to innovation and an ability to push creatives into working in different exciting ways , whether that be outdoor experiences , large scale events or indeed immersive . It has ultimately helped in that there is an abundance of talent in the UK raised by experimentation , questioning the ‘ norm ’ and a genuine desire to explore what can be achieved . The training and ability to work in these areas have also never been more accessible and exciting .”
For myself , three other crucial factors come into play . The first is the British tradition of masquerade and carnival . From Inigo Jones designed courtly masques at Banqueting House under the patronage of James I ’ s consort Queen Anne ( when the proscenium arch was introduced to British Theatre ) to Notting Hill Carnival , the world ’ s secondbiggest street party , there ’ s a tradition of dressing up , play , innovation , technology and cross-cultural engagement . in partnership with
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