{"id":1757,"date":"2026-03-04T04:57:17","date_gmt":"2026-03-04T04:57:17","guid":{"rendered":"http:\/\/en.semiosis.co.kr\/?p=1757"},"modified":"2026-03-09T05:32:47","modified_gmt":"2026-03-09T05:32:47","slug":"a-study-on-the-performativity-expansion-ofvr-immersive-theater-focusing-on-technology-audience-actor-ofthe-under-presents-tempest2020","status":"publish","type":"post","link":"https:\/\/en.semiosis.co.kr\/?p=1757","title":{"rendered":"A Study on the Performativity Expansion of VR Immersive Theater ; Focusing on \u2018technology-audience-actor\u2019 of The Under Presents: Tempest(2020)"},"content":{"rendered":"\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-gallery aligncenter columns-1 wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"207\" height=\"299\" src=\"http:\/\/en.semiosis.co.kr\/wp-content\/uploads\/2026\/03\/\uc601\uc0c1\ubb38\ud654.jpg\" alt=\"\" data-id=\"1758\" data-full-url=\"http:\/\/en.semiosis.co.kr\/wp-content\/uploads\/2026\/03\/\uc601\uc0c1\ubb38\ud654.jpg\" data-link=\"http:\/\/en.semiosis.co.kr\/?attachment_id=1758\" class=\"wp-image-1758\"\/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<h4 class=\"has-primary-color has-text-color wp-block-heading\"><a href=\"https:\/\/www.kci.go.kr\/kciportal\/ci\/sereArticleSearch\/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART003308058\">Kim<strong>, Hanju<\/strong> and Soyoug Kim&nbsp;(2026) \u201cA Study on the Performativity Expansion of VR Immersive Theater ; Focusing on \u2018technology-audience-actor\u2019 of The Under Presents: Tempest(2020)\u201d<\/a><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/dx.doi.org\/10.21208\/kla.2025.12.56.99\">http:\/\/dx.doi.org\/10.21299\/jovc.<\/a><a href=\"http:\/\/dx.doi.org\/10.21299\/jovc.2026.48.3\">2026.48.3<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong> ABSTRACT<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Technological advances have expanded performers\u2019 and audiences\u2019 actions, spawning immersive theatre as a new creative paradigm. This form leverages VR technology, where virtual-space collaboration between audiences and performers shapes the content. Thus, theatre as an artistic field demands moving beyond human-technology dichotomies toward examining their co-evolution. This study analyzes the VR immersive production The Under Presents: Tempest(2020), using Erika Fischer-Lichte\u2019s performativity concept of the \u201cfeedback-schleief\u201d to map performative actions in the \u201ctechnology\u2013audience-actor\u201d triad. As audiences shift from passive observers to active participants, the dismantling of the fourth wall aligns with strategies such as role reversal, community formation, and embodied contact. This shift prompts a reassessment of the \u201ctechnology\u2013audience\u2013actor\u201d constellation and opens avenues for examining co-evolutionary dynamics between humans and technological systems. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kim, Hanju and Soyoug Kim&nbsp;(2026) \u201cA Study on the Performativity Expansion of VR Immersive Theater ; Focusing on \u2018technology-audience-actor\u2019 of The Under Presents: Tempest(2020)\u201d http:\/\/dx.doi.org\/10.21299\/jovc.2026.48.3 ABSTRACT Technological advances have expanded performers\u2019 and audiences\u2019 actions, spawning immersive theatre as a new creative paradigm. This form leverages VR technology, where virtual-space collaboration between audiences and performers shapes the content. Thus, theatre as<\/p>\n","protected":false},"author":1,"featured_media":1773,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[13],"class_list":["post-1757","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research","tag-research"],"_links":{"self":[{"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=\/wp\/v2\/posts\/1757","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1757"}],"version-history":[{"count":4,"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=\/wp\/v2\/posts\/1757\/revisions"}],"predecessor-version":[{"id":1763,"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=\/wp\/v2\/posts\/1757\/revisions\/1763"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=\/wp\/v2\/media\/1773"}],"wp:attachment":[{"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1757"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1757"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/en.semiosis.co.kr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1757"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}