无界限沉浸式剧场——圈

设计说明

现状（问题原因）Disturbing phenomenon
1.在目前的剧院中，观众与演员之间总是有着非常大的距离，虽然共处一室，但是却被舞台这一上升空间分割出了两个世界，观众只能远远观望这个跟现实世界完全等大的演出，在一定程度上，大多数人是没有办法在观赏中有一个很好的体验，因为他们根本看不清演员的神情，演员的动作，演员手中的道具，而这些都是话剧表演中很重要的部分，而也是观看传统话剧中不可避免的困扰。
2.传统话剧所呈现的故事都主要是由主角视角出发，换句话说，传统话剧只是呈现了这个故事的一个方面，观众并无法选择从其他角度入手，不能从其他角色的角度来观察问题；并且，在场景的布置上只能在短时间内在一个不大的空间内（舞台）利用简单灯光或者道具进行空间分割布置，本来就不是很利于给观众身临其境的感觉，这样的观赏体验也就不会是最佳（这在一定程度上导致了现在电影逐渐代替了话剧的原因）。
1. In the present theatre, there is always a great distance between the audience and the actors. Although they live in one room, they are divided into two worlds by the rising space of the stage. The audience can only watch the performance which is totally large with the real world. To a certain extent, most people have no way to have a good experience in the viewing, because they can't see it clearly. The expression of the actor, the action of the actor and the props in the actor's hands are all very important parts of the performance of the drama, and they are also inevitable troubles in watching traditional drama.          
 2. The stories presented in traditional dramas are mainly from the perspective of the protagonist. The audience can not choose to start from other angles and observe the problems from the perspective of other roles. Moreover, the layout of the scenes can only use simple lights or light in a small space (stage) in a short time. The space partition arrangement of props is not conducive to the audience's feeling of being in the scene, so the viewing experience will not be the best.

解决方案 Solution strategy
设计修建一个浸入式话剧院，能从根本上打破观众与演员以及故事之间的距离，真正浸入到故事之中。不在考虑传统固定的舞台与观众席，利用动线的穿插安排空间来帮助故事呈现它的立体效果，动线分为主角的主线以及几个配角的几个副线，多条线会有穿插，观众可以自由选择不同的线路跟随演员，从而达到能从各个事物的角度看待整个故事事件，从而达到一个身临其境的浸泡的效果。这种流动舞台的动线规划设计后加上由“浸泡”一词抽象后形成的空间形态，就是整个项目的核心。
The design and construction of an immersion theatre can fundamentally break the distance between the audience and the actors as well as the story, and truly immerse in the story. Instead of considering the traditional fixed stage and auditorium, use the intersection of moving lines to arrange space to help the story present its three-dimensional effect. The moving lines are divided into the main line of the protagonist and several auxiliary lines of several supporting roles. Many lines will be intersected. The audience can freely choose different lines to follow the actors, so that they can see the whole story from the perspective of all things, thus achieving a single story. Immersive immersion effect. The core of the whole project is the spatial form formed by the abstraction of the word "immersion" after the dynamic planning and design of the mobile stage.