How do immersive artworks predispose the aesthetic experience of actors, both performers and visitors?From a semioesthetic perspective, it must be problematized in the light of the notion of practice: a proto-scene is set up and detached from the background while ensuring not only continuity of experience but all continuity of the variations that form all experience. As Baptiste Morizot and Estelle Zhong Mengual argue when speaking of the temptation of contemporary art, we are witnessing a phenomenon of unavailability of certain works, which affects the relationship they have with the subjects who visit them. The aesthetics of the encounter aims to reinvest a salience, which restores the temporal thickness necessary for the emergence of an experience.With these considerations in mind, we'd like to examine how En amour delivers or not on its promise to be an "installation-experience". This is a 2024 creation by duo/compagnie Adrien M. & Claire B., working at the frontier between visual, digital, and performative arts. Starting from the idea of image-atmosphere, we're going to discover the device set up at the Philharmonie de Paris. As in other cases of guided performances, crossing and, conversely, remaining (and moving) together in a poly-sensory space can suggest the call to other semio-somatic modalities capable of orchestrating the perception and emotional tone of the actions to be performed.This is therefore intended as a real "test" and feedback that will also enable us to enhance the semiotic interest of the articulation between device, performative situation, and theatrical semiology.