A Study Of Atmosphere Aesthetics In Immersive Theater

In the face of the separation and erosion of the human environment by traditional rationalism and the restriction and shackle of aesthetic demands,Gernot Bomer’s "atmosphere aesthetics" advocates reexploring and returning to the tradition of aesthetic sensibility.With"new phenomenology" as the entry method,he disintegrated the ontology of things in the traditional concept and emphasized the important role of body perception in aesthetic perception.At the same time,"atmosphere aesthetics" also breaks the elitist threshold of traditional aesthetics and believes that "atmosphere" can be manufactured,thus giving the public aesthetic craft an equal status,safeguarding people’s legitimate rights and interests in the pursuit of beauty,and re-examining the aesthetic capitalism’s perceptual control over people.It is expected that people can break the guiding force from aesthetic economy through the understanding of "atmosphere",so as to reach a possibility of free communication with atmosphere.In Bohmer’s opinion,among the many practices of creating "atmosphere",the art of stage layout is undoubtedly the representative existence,which can create its own needed atmosphere by arranging "things".As a further extension and development of the traditional stage art,immersive theater is characterized by creating a space atmosphere,allowing the audience to complete the aesthetic emotional experience of the atmosphere with the physical presence in a specific environment.As a popular new drama perception mode in recent years,how to bring better atmosphere experience to the audience has become an important issue of great concern to both theater makers and audiences.Based on this,this paper chooses "Unique Henan-Land of Dramas" as the research object,and analyzes and studies the atmosphere creation and reception in immersive theater on the theoretical basis of atmosphere aesthetics.This paper is divided into five parts.The introduction first introduces the origin and research significance of this paper,makes a brief statement on the current research status of B(?)hme’s atmosphere aesthetics and immersive theater,and points out the significance of analyzing immersive theater based on atmosphere aesthetics.The first chapter focuses on the general situation of atmosphere aesthetics and immersive theater,and investigates atmosphere aesthetics from three aspects:the generative context,theoretical basis and system structure.Then,it introduces the origin and rise of contemporary immersive theater,and makes an introduction to the central case of this paper:Unique Henan-Land of Dramas.The second chapter focuses on the analysis of atmosphere creation in immersive theater,and points out that "things" as the conditions of theater construction,such as actors’ facial features,light color,sound,etc.are always present in their own way to create atmosphere.The third chapter analyzes and sorts the atmosphere reception in immersive theater from the perspective of the main body,and makes it clear that people always perceive the atmosphere with the existence of the leib,and people’s perceptual perception is a kind of original and overall situation feeling.In the fourth chapter,from an objective point of view,the author further emphasizes the original intention and purpose of Bohme’s atmosphere aesthetics to "sensibility",and at the same time makes a statement and interpretation of the soft power of atmosphere and the aesthetic generalization it may bring,in order to provide a new way of thinking and approach for the development of the aestheticism of contemporary life.