In traditional theaters, good seating is always a scarce resource - the central area of the pool seat has the best sound effects, but the view is limited; The second floor grandstand provides a panoramic view of the entire scene, but it is difficult to capture the subtle expressions of the actors; The expensive price of front seats has deterred many viewers, but affordable rear seats are always the first to sell out, and viewers always have to make choices. Nowadays, digital drama provides the possibility to completely break this dilemma. It expands the concept of the "most preferred seat" in the physical space of the theater through artificial intelligence, virtual reality (VR/AR/MR), real-time rendering, cloud based performances, and other intelligent technologies, shaping an immersive experience, personalized perspective, and multi-dimensional perception fusion viewing experience. This is the latest development of the long-standing theatrical art in the digital age based on technological advancements. The immersive experience of sensory upgrading "people in the middle of the drama" in digital drama is a product of the integration of traditional drama and emerging technology. It is a variety of works formed by using digital intelligence technology to explore and reconstruct the entire process of drama creation, rehearsal, performance, interactive viewing, and social communication. Digital drama has achieved many practical results both domestically and internationally, such as mainstream art awards and exhibitions represented by the three major international film festivals in Europe, all of which have established XR (Extended Reality) units, including virtual interactive theater works. Digital drama is not meant to replace traditional drama. Its pursuit is to absorb new elements, technologies, and aesthetics that have emerged in the development of the times. It is a contemporary form of drama that has emerged in the context of the new era and technology, creating a "human in the middle of the drama" viewing experience. Digital theater regards digital intelligence technology as a "super stage design", comprehensively upgrading the stage machinery and audio-visual technology of traditional theaters, enhancing and even reshaping the immersion and audio-visual experience of performing arts. For example, the musical drama "Summoned Dunhuang" has created a multidimensional platform that integrates 2D animation, 3D special effects, and AIGC imagery, greatly enhancing multimedia visual effects, such as achieving a precise restoration of the Dunhuang desert environment; The live performance of "Dream Seeking Peony Pavilion" created in Fuzhou City, the hometown of Tang Xianzu, uses holographic imaging technology to realistically reproduce the pavilions and towers in "Peony Pavilion", bringing the audience into the dreamlike story of "Peony Pavilion". The 'super stage design' of digital drama allows the audience to be more immersed in the drama, experiencing more artistic details and gaining a deeper immersive experience. The "sensory upgrade" of digital drama for the audience is not simply limited to the "enhancement" of the existing audio-visual experience. The Qin culture themed epic fantasy performance "The Great Qin" launched in 2024 uses an ultra long and fast track style moving audience seat, making it a continuous immersive performance work. The integrated mobile seats, combined with fully concealed dynamic stage machinery, aerial mobile stage design devices, and over 4000 square meters of stage space, fully integrate the experience of the audience seats, creating a sensory effect that surrounds the audience. This not only affects the visual and auditory senses of the performance, but also stimulates direct physical sensations, gradually immersing the audience into a three-dimensional theater illusion while moving, guiding the audience's senses to deeply immerse themselves in the performance and feel the magnificent atmosphere of the Great Qin Dynasty. The liberation of perspective to see more details and the use of advanced technology not only upgrade the sensory experience of theatrical art, but also further break the limitations of frame style stages. It can not only achieve the migration of drama from the theater to the cloud, but also customize the "best viewing perspective" for each audience through 5G real-time rendering, real-time adaptation of virtual scenes, and free switching of multi camera perspectives, allowing the audience to have an independent viewing experience. Whether it's using AR/XR technology to overlay virtual elements (such as dancing dragons, virtual hosts, and fantasy scenes) in real-time during live performances at festivals and evening parties, and transmitting them to screen audiences through multi camera shooting, or combining digital drama images such as XR dramas "Macbeth" and "Ji Kang" with physical backgrounds and real-time virtual extended scenes to capture actors' performances in this environment and play them on the screen, they all achieve the display and real-time interaction of stage performances on screen devices, not only solving the problems of limited audience capacity and imbalanced viewing effects in physical theaters, but also realizing the linkage between the "presence" of theater performances and the "online" media dissemination, creating diverse viewing scenes. Digital drama has brought traditional opera closer to young audiences, changing the single perspective and traditional performance methods of audience viewing. It has also revitalized the understanding of opera among many young people, discovering details and beauty that were previously overlooked in traditional theater. For example, in the "Digital Mei Lanfang" project, by creating a "Mei Lanfang Twin Digital Person", Peking Opera masters can once again perform on stage. The Yue Opera "New Dragon Gate Inn" transformed the theater into an ancient inn, creating a fantasy world of rivers and lakes with panoramic stage machinery and multimedia projection, attracting a large number of young audiences. Digital drama provides more people with opportunities to engage with theatrical art. As a new digital entertainment format of the National Theatre of China, the "Second Scene" of "Su Di Chun Xiao" has achieved a "thousand mile shared viewing" of six cities performing together. The drama breaks the limitations of fixed seats in theater viewing with a dynamic perspective through real-time shooting, editing, and production using a digital production and broadcasting system with multiple camera positions, perspectives, and scenes. It provides each audience with a "private director" like appreciation experience. Viewers can not only witness the ups and downs of Su Shi's life through real-time broadcasting, but also feel the actors' subtle performances under the focus of high-definition cameras. Moreover, its initial invoice price is only 20 yuan, allowing more audiences to enter the realm of elegant theatrical art. With the further development of digital technology, the viewing perspective based on the audience will be further liberated. The dynamic switching of perspectives may be freely chosen by the audience, and the forms, scope, and degree of audience interaction will be further expanded. The development of receiving devices, such as virtual reality wearable devices, will form a more proactive way of watching performances, bringing new viewing experiences. The synergy between reality and virtuality still relies on stories and emotions that strike people's hearts. Through the interweaving of virtual and real spaces, digital drama can create a new type of stage scene where "physical presence" and "digital presence" coexist, achieving the synergy between reality and virtuality. Digital drama utilizes virtual reality technology to create intelligent spaces, where audiences can use wearable devices to enter a space that combines reality and virtuality. Unlike watching video products or real-time broadcasting, this practice of digital drama attempts to reconstruct the viewing experience, expanding the existing non-linear and multi scene narrative in drama to a larger spatiotemporal dimension of virtual and real fusion. The development of technologies such as artificial intelligence robots, cyborg, motion capture, and expression capture, as well as brain computer interfaces for extending the future vision of senses, will create a new perceptual experience through the interaction between digital avatars and bodily senses. Although current technology is not yet able to achieve a smooth shuttle experience between the physical world of the body and the virtual world of the digital world, some VR works and interactive exhibitions have already allowed people to experience the difference in perceptual consciousness between body perception and media perception. For the audience, even a small movement such as turning around or shaking hands has a completely different physical experience from watching a theater performance. For example, the special exhibition work "Hello Typewriter" in the XR section of the 2023 Beijing Film Festival featured actors from far away Japan who transformed into "typewriters" and performed in real-time, interacting virtually with multiple viewers entering the virtual space. Although this kind of interaction can only be carried out through relatively simple dances and movements, the delay in action feedback also makes the audience's live movements and virtual interactions disjointed, weakening immersion. Such works are still an important attempt to expand the new grammar of digital drama. Meanwhile, the technology of virtual reality will truly make co creation of performances possible. Viewers can transform into virtual characters through wearable devices, crossing time and space limitations to trigger plot branches and drive the development of the story. Digital technology will help theater break through the three-dimensional perspective of physical space in the theater, making each audience a truly independent observer, and providing a new viewing experience of deep immersion, multi-dimensional interaction, and coordinated dialogue of multiple perceptions. From "sensory upgrading" to "perspective liberation", and then to "virtual real collaboration", the development of digital drama empowers audiences with technology, enabling each audience to obtain the optimal viewing perspective, independent viewing methods, and immersive viewing experience. However, the current practice of digital drama is still in its infancy. On the one hand, it faces technological bottlenecks such as the perception gap between reality and virtuality, simplification of interaction logic, and delay in real-time interaction, which still constrain the integrity of the digital drama viewing experience. On the other hand, digital drama also needs to answer the fundamental question of "how drama works" - it still relies on the story and emotional core to strike people's hearts, and constantly explores how to find a dynamic balance between "technological rationality" and "artistic charm". (New Society)