Immersive Theater Research Based On Spectator Relationship ——A Case Study Of Punchdrunk

Since the 20 th century,due to the influence of various ideological trends of literature and art,the form and aesthetic concept of drama art have changed and even overturned,such as expressionism drama,existentialism drama,absurd drama,direct drama,environmental drama,immersive drama and other forms of drama and drama concept.Dramatic art not only makes bold subversion of text,but also makes bold experiments in dramatic space.The immersion industry has a history of 8 years in China.Since the opening of Sleepless Night in Shanghai in 2016,China’s immersion industry has shown a breakthrough rapid growth.The year of 2016 is also known as "the first year of the explosion of China’s immersion entertainment" because of the opening of Sleepless Night in Shanghai.Immersive drama is born in the context of experience economy and post-modern philosophy,presenting an experiential,multi-centric and fragmented form.This paper chooses Punchdrunk as the research object.They introduced Sleepless Night into China,thus leading a creation trend of "the tenth Art".Punchdrunk takes "deconstructing classic texts and layering these elements into the environment" as its core creation concept,and makes innovations in the theater art from the setting of audiences,actors and Spaces.The creative participation of audiences has also become the pursuit goal of Punchdrunk.This paper discusses the characteristics of immersive drama from the perspective of the performance relationship,which can not only divide the scope and boundary of immersive drama,but also provide ideas for immersive drama production.The paper is divided into four parts,namely,audience,actor and space in immersive drama.Finally,it summarizes the development status of immersive drama in China and puts forward thoughts and suggestions.In the first chapter,the author mainly analyzes and expounds the influence of immersive theater from three aspects: immersive experience,experience economy and environmental theater,in order to explore the cultural background of immersive theater in The Times and the characteristics of immersive theater under the experience economy.It also explains the creation and development of Punchdrunk,focusing on the creative experience of felix Barrett,the founder of punchdrunk,and the works of punchdrunk from 2000 to 2018.In the second chapter,the author discusses the audience,one of the elements of the spectator relationship,discusses the status and influence of the audience in immersive dramas,and analyzes the characteristics of the audience in immersive dramas from the perspectives of audience psychology,audience experience and audience participation.In the third chapter,the author will focus on the actors,one of the elements of the performance relationship,and discuss how Punchdrunk uses body instead of language to perform,so as to immerse the audience.In the fourth chapter,punchdrunk’s theater space is analyzed.The theater usually chooses abandoned buildings as performance venues and deepens the audience’s immersive experience by taking advantage of the dark environment.This chapter mainly analyzes the characteristics of theater theater in space production and summarizes the characteristics of immersive theater space.In the last chapter,the author classifies and expounds the current development status of immersive theater in China,and puts forward problems and solutions related to immersive theater production,aiming to provide theoretical and technical support for the development of immersive theater in China.