Immersive theatre, as a contemporary performance form that integrates narrative, space, and sensory participation, has gradually expanded from entertainment consumption to a practice of cultural representation and memory construction. Audiences are no longer merely passive spectators but participate in the narrative through role-playing, situational interaction, and sensory triggers, thereby generating cultural identity and emotional memory. While existing research has preliminarily addressed the characteristics of immersive design and audience interaction, there remains a lack of in-depth exploration into how audiences, after the performance, come to develop cultural positional understanding and sustain memory through participatory practices. Drawing on three Taiwanese immersive productions with strong local cultural contexts—The Great Tipsy, Someone, and Ephemeral Light: Taiwan—this study employs participatory observation and content analysis as an exploratory qualitative inquiry. Findings indicate that audience subjectivity is shaped by role design and the degree of participatory freedom; the depth of interaction and cultural context within narrative strategies determine cultural reception; emotional triggers act as a catalyst for cultural memory construction; and the depth of immersion influences the intensity and continuity of post-performance cultural effects. The three works, respectively, embody “emotional,” “historical,” and “cognitive” modes of cultural influence, producing distinct levels of post-experiential effects. This study further reveals that the formation of cultural identity emerges from the interweaving of design strategies, affective triggers, and narrative participation. These insights not only inform immersive design practices but also suggest the importance of incorporating cultural aftereffect tracking and educational applications to extend the depth and breadth of cultural practice.
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Man-Ting Ku
National Yunlin University of Science and Technology
Shang-Chia Chiou
Tainan National University of the Arts
Hsin-Te Chan
Tainan National University of the Arts
Arts
National Yunlin University of Science and Technology
Tainan National University of the Arts
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Ku et al. (Wed,) studied this question.
synapsesocial.com/papers/68c187209b7b07f3a0611075 — DOI: https://doi.org/10.3390/arts14050106