Analysis On Experiential Space For Watching And Performing Of Environmental Theatre

As one of the important types of cultural buildings, performance building reveals the progress of the society and the achievements in the field of culture and arts, and plays an important role as the carrier of cultural communication and social interaction.The development of performance building shows the combined effects of many factors, including the development of science and technology, the evolution of architectural thought, the changes of social aesthetic ideas, and also the space exploration from drama creation and performance themselves, which is even more and more closely associated.The theory of Environmental Theatre, originated from the renowned American theatre theotist Richard Schechner, has been influential on the reform of drama and performance space since 1960 s. Taken as a "manifesto" of the selection and use of space, the theory proposed a series of subversive requirements, redefining the space of a theater building. As is seen, the Immersive Theatres in western countries, the Outdoor Live-Action Theatres in our country as well as the Indoor ones such as “Youjian” Theatres all reflect the vitality of the theory in the context of both contemporary theatrical innovation and development of the experience-economic without exception. Not only does the attention to the experience from the drama theory itself but aslo the psychological needs for newness ask for the richness and diversity of theatrical experience. The theatre buildings which provide exclusive spaces for these performances are supposed to change with the shows by both focusing on self-expression and trying to meet specific performance requirements rather than a universal binary combination of the stage and the auditorium.Taking the Youjian Dunhuang Theatre Project as an opportunity, this essay focuses on the experience of space and drama and traces the essence of Environmental Theatre to make a discussion of the specific requirements of this unconventional form of performance from the point of architecture. Based on theoretical study, captor 3 discusses the creation and dynamic design of scenes as well as ways that lead to different behaviors and establish the watching-acting relationships we need. Then Chapter 4 discusses architectural ways of defamiliarization to make Alienation effect. And in Chapter 5, all these analysis provide guidance for the design work to the Youjian Dunhuang Theatre Project to various degrees.