This summer Theatre Delicatessen is unearthing a new and wondrous world at the Bush Theatre; the world of Bush Bazaar, where market traders rub shoulders with fortune tellers, stock brokers and white-coated doctors in a fantastical environment where anything could happen. We chatted to them about the new face of theatre and how best to haggle, barter, beg or steal...

Run-Riot:Immersive theatre experiences have become hugely popular - why do you think this is? Are people just bored of conventional plays? Do audiences need interaction to keep their attention in an age where we're over stimulated by everything from movies to video games, to social media?

Theatre Delicatessen: They are rather 'glass half empty' questions! We think it's less about our diminished attention spans and more about how we generally interact with the world. The internet has created a culture of connectivity that was impossible before it's existence. The Arab Sping is the over-used example of what a a positive impact this connectivity and collaboration can have. This is what immersive theatre is all about, and it's popularity at the time and over the last ten years really reflects what's going in wider society. People want to feel like the things they value are real experiences, and moments they can share. Immersive theatre is much more successful at achieving these ambitions than black box theatre.

RR: Some theatre companies have been criticised for 'selling out' by producing experiences for big brands- do you think independent theatre companies compromise their artistic integrity by creating work for corporate organisations, or is it an essential part of surviving in the industry?

TD: Well I think the last 30 years of consumerism has proved that you can't beat them. So why not join them. Not only do they provide much needed revenue streams and core costs, but connecting and collaborating might just change things for the better. To me, unless the theatre company is explicitly about refusing the rules of society, there's no difference between the National Theatre taking on a sponsor or an independent company creating something for a brand. It's all about approach: if you're working with that brand in a way that supports your key aims then there's no compromise made. If you hate McDonalds but then work with them just for the money then you're an idiot, and well, you're just an idiot.

RR:You've created work for the Old Vic tunnels- one example of the fantastic venues London has to offer for alternative theatre experiences. If you could put on a show or installation in any London building or location, where would it be and why?

Jess: Oh god. That's a hard one! I'd love to take over the new Tate Modern wing with a massive version of Theatre Souk, which Bush Bazaar is modelled on. It would be so great to directly debate the value of art within one of the great art institutions of the world.

RR: Tell us about the concept behind Bush Bazaar.

TD: Bush Bazaar, showcases the work of young emerging theatre artists at the Bush Theatre. Coinciding with the anniversary of the London riots and inspired by the questions that were thrown up in its aftermath, each participant will aim to explore the meaning of value in our modern world. To do this Theatre Delicatessen is going to stage a “take-over” of this established theatre building and re-discover, re-imagine and re-value its existence. Based on our ground-breaking festival Theatre Souk, 20 companies will be invited to each inhabit a room in the building with which to explore, question and debate the notion of value. We'll ask our participants – both artists and audience – 'What's it worth: your trainers, your phone, your house, you, your mum, your child, your books, you hairstyle, your job, your money, or your creativity?' 'Should you pay, haggle, or steal?' 'Can we make a performance that can be stolen, or ambushed and taken away?' Can a performance change it's value over it's existence?' 'Who's more valuable, you or me? The audience and artists together decide the answers.

RR: Participants are encouraged to 'haggle, barter, beg or steal'...have you ever done any of these things in 'real life'?

Jess: When I was 6 I stole a green plastic car from a corner shop. Clearly my parents had done a good job instilling moral values as I felt so guilty about it for so many years afterwards I've never stolen again. Ever. Although I might have when I've been really, really drunk. I'm a car boot addict though so I love a good barter.

RR: What's in store for Theatre Delicatessen in the future?

TD: We have a couple of shows we're beginning to develop right now that really expands how we use spaces artistically, into what can only be described as psycho-spatial in approach. But also a key aim for us is to expand our work supporting artists, and our concept of creating artistic hubs as the space to do this. Collaboration is at the heart of what we do.

See details of Bush Bazaar here.