THE IMPACT OF NEW MEDIA TECHNOLOGIES ON AUDIENCE IMMERSION IN CONTEMPORARY CHINESE THEATRE
DOI:
https://doi.org/10.55197/qjssh.v6i5.819Keywords:
new media technologies, audience immersion, contemporary Chinese theatre, dream imageryAbstract
This study explores the cognitive understanding and practical pathways of dream imagery in contemporary Chinese theatre, with a particular focus on the impact of new media technologies on audience immersion. Based on semi-structured interviews, it investigates how directors, playwrights, and stage designers conceptualize and implement dream imagery. The research begins by defining the concept of dream imagery and its multidimensional roles in dramatic narrative, aesthetic function, and expressive techniques, emphasizing the lack of attention to creators' perspectives in current scholarship. Employing a qualitative research paradigm informed by symbolic interactionism and cognitive psychology, this study analyzes how creators construct dream imagery in scriptwriting and stage presentation, and the challenges they face, including cultural gaps, technical constraints, and audience comprehension. Findings reveal that dream imagery not only serves as a carrier of psychological and social symbols but also exemplifies contemporary drama's innovation beyond traditional structures. The study emphasizes a triadic interaction model among creators, texts, and audiences, offering new theoretical insights and practical references for theatrical production and cross-media dissemination. Finally, it proposes theoretical and practical frameworks for developing a distinctively Chinese model of dream imagery creation, thereby promoting the sustainable evolution of dream narratives in Chinese contemporary theatre.
References
[1] Agrawal, S., Simon, A., Bech, S., Bærentsen, K., Forchhammer, S. (2019): Defining immersion: Literature review and implications for research on immersive audiovisual experiences. – Journal of Audio Engineering Society 68(6): 404-417.
[2] Babziz, Y., Derouich, F. (2024): William Shakespeare in digital era: Hamlet and 21st century audience. – Université KASDI MERBAH-OUARGLA 106p.
[3] Bakhshi, H., Throsby, D. (2012): New technologies in cultural institutions: Theory, evidence and policy implications. – International Journal of Cultural Policy 18(2): 205-222.
[4] Chukwu-Okoronkwo, S.O. (2023): E-culture, contemporary theatre for development practice and intersection performance technique option: Radical mediamorphosis for effective development communication. – Advanced Journal of Theatre and Film Studies 1(1): 21–28.
[5] Deng, G., Goh, S.S. (2024): How The Three-Body Trilogy Were Translated: Perspectives on the Political and Literary Fields. – Sage Open 14(4): 16p.
[6] El-Nasr, M.S. (2007): Interaction, narrative, and drama: Creating an adaptive interactive narrative using performance arts theories. – Interaction Studies 8(2): 209-240.
[7] Freitag, F., Molter, C., Mücke, L.K., Rapp, H., Schlarb, D.B., Sommerlad, E., Spahr, C., Zerhoch, D. (2020): Immersivity: An interdisciplinary approach to spaces of immersion. – Ambiances. Environnement Sensible, Architecture Et Espace Urbain 7(5): 55-69.
[8] Freyermuth, G.S. (2016): From analog to digital image space: Toward a historical theory of immersion. – In Immersion in the Visual Arts and Media, Brill 40p.
[9] Gąbka, J. (2023): Devising a multi-camera motion capture and processing system for production plant monitoring and operator’s training in virtual reality. – Manufacturing Technology 23(4): 399-417.
[10] Geuens, J.P. (2015): The dismantling of the fourth wall. – Quarterly Review of Film and Video 32(4): 314-328.
[11] Hayes, D., MacLeod, N. (2007): Packaging places: Designing heritage trails using an experience economy perspective to maximize visitor engagement. – Journal of Vacation Marketing 13(1): 45-58.
[12] Healey, C. (2017): Estranging realism in Chinese science fiction: Hybridity and environmentalism in Chen Qiufan’s “The Waste Tide”. – Modern Chinese Literature and Culture 29(2): 1-33.
[13] Janlert, L.E., Stolterman, E. (2017): The meaning of interactivity-some proposals for definitions and measures. – Human-Computer Interaction 32(3): 103-138.
[14] Lewis, W.W. (2018): Approaches to “audience-centered” performance: Designing interaction for the iGeneration. – New Directions in Teaching Theatre Arts 9(2): 9-25.
[15] Michelle, C., Davis, C.H., Vladica, F. (2012): Understanding variation in audience engagement and response: An application of the composite model to receptions of Avatar (2009). – The Communication Review 15(2): 106-143.
[16] Nilsson, N.C., Nordahl, R., Serafin, S. (2016): Immersion revisited: A review of existing definitions of immersion and their relation to different theories of presence. – Human Technology 12(2): 108-134.
[17] Paananen, T., Kemppainen, T., Makkonen, M., Holkkola, M., Tyrväinen, O., Frank, L. (2024): Towards techno-psychological immersion: A narrative literature review of immersion and its related concepts. – Bled eConference 12(4): 577-596.
[18] Rahimi, F., Sadeghi-Niaraki, A., Choi, S.M. (2025): Generative AI meets virtual reality: A comprehensive survey on applications, challenges, and future direction. – IEEE Access 17p.
[19] Rolls, B.J., Hetherington, M., Burley, V.J. (1988): Sensory stimulation and energy density in the development of satiety. – Physiology & Behavior 44(6): 727-733.
[20] Samur, S. (2012): Actor and technology: Appropriating digital media into the creative process. – Université du Québec à Montréal 79p.
[21] Shearing, D.R. (2015): Audience immersion and the experience of scenography. – University of Leeds 214p.
[22] Stravoskoufos, K., Sotiriadis, S., Preventis, A., Petrakis, E.G. (2014): Motion sensor driven gesture recognition for future internet application development. – IISA 2014, The 5th International Conference on Information, Intelligence, Systems and Applications 6p.
[23] Suh, A., Prophet, J. (2018): The state of immersive technology research: A literature analysis. – Computers in Human Behavior 86(7): 77-90.
[24] Syed, T.A., Siddiqui, M.S., Abdullah, H.B., Jan, S., Namoun, A., Alzahrani, A., Nadeem, A., Alkhodre, A.B. (2022): In-depth review of augmented reality: Tracking technologies, development tools, AR displays, collaborative AR, and security concerns. – Sensors 23(1): 146-162.
[25] Tabački, N. (2017): Make me feel: Sensing technology in contemporary scenography. – Theatre and Performance Design 3(3): 119-139.
[26] Wang, G. (2023): Virtual reality-based approach to digital museum display. – Advances in Computer and Communication 4(3): 101-121.
[27] Weijdom, J. (2017): Mixed reality and the theatre of the future. – Fresh Perspectives on Arts and New Technologies 6(3): 47-54.
[28] Wiens, B. (2010): Modular settings and ‘creative light’: The legacy of Adolphe Appia in the digital age. – International Journal of Performance Arts and Digital Media 6(1): 25-39.
[29] Yao, J., Photchanachan, S. (2023): The impact of immersive and meaningful experiences for theatergoers. – Journal of Roi Kaensarn Academi 8(9): 414-425.
[30] Zhang, C., Perkis, A., Arndt, S. (2017): Spatial immersion versus emotional immersion: Which is more immersive? – 2017 Ninth International Conference on Quality of Multimedia Experience (QoMEX) 6p.
[31] Zhang, J. (2023): Digital media technology on the theatre stage. – Frontiers in Art Research 5(12): 56-72.
[32] Zhang, X., Xie, M., Huang, G. (2022): Connecting Chinese cities with the global performing arts market: The geographies of performing-arts consumption in China. – Urban Geography 43(3): 387-408.
[33] Zhang, Y., Song, Y. (2022): The effects of sensory cues on immersive experiences for fostering technology-assisted sustainable behavior: A systematic review. – Behavioral Sciences 12(10): 361-381.
Downloads
Published
Issue
Section
License
Copyright (c) 2025 JIAMING XU, YIFANG YIN, SYARUL AZLINA SIKANDAR
This work is licensed under a Creative Commons Attribution 4.0 International License.
