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The concept of immersion is becoming increasingly successful on both sides of the Atlantic, whether it involves artists, cultural actors, or researchers. Indeed, a growing number of artists are relying on the notion of immersion to define their work. The term’s pervasiveness has done nothing to harm its popularity, but has rather extended its scope to include a wide range of practices from various disciplines. Cinema and video games are the obvious examples, but we can also name theater, installations, performance, dance, and the fine arts. The concept of immersion has been employed in such an intensive manner that it is becoming more and more metaphorical, sometimes even impenetrable and contradictory. We thus find ourselves faced with the following question: To what extent can the idea of immersion constitute a paradigm, taking into account the specificity of the varied devices and issues that are emerging as a result of aesthetic and/or ludic steps? How does immersive dramaturgy make use of intermediality and interaction? In this article, we propose a definition of immersive theatre and consequently its dramaturgical aspects. We will suggest a definition of immersive theater as a fluctuating interaction between the real and the imaginary, made up of three stages experienced by the spectator: firstly physical integration, secondly sensory and dramaturgical immersion, and finally bodily indeterminacy.