The Detective Zhao Gan'e series blurs the lines between actors and audience, creating an interactive and emotionally resonant experience.
In traditional theater, actors and the audience are typically separated by the stage, as if there is an invisible wall between them.
"You exist in a state of 'public solitude'," said Li Muyi, 30, one of the actors portraying the protagonist Zhao Gan'e in the play Dazhentan Zhao Gan'e 2 (Detective Zhao Gan'e 2), currently staged in Beijing.
The play is a sequel to Detective Zhao Gan'e (2023), where Zhao Gan'e solves murder cases, set in a specific period of 2005.
Like the first installment, the sequel offers an interactive and immersive experience. The audience becomes part of the stage setting: some sit behind the desk at the police station, others occupy the back seat of the car, which is the crime scene, and some sit in an internet cafe with computers from two decades ago in front of them.
"In immersive dramas, we perform right in front of the audience most of the time. We can hear their breaths and observe their facial expressions," said Li. "It's essential to be attentive to their responses and exercise caution during actions, such as closing a car door with audience members inside."
The play's director, Zhang Xiao, 32, defines the Detective Zhao Gan'e series as "environmental theater", a concept originating from US theater theorist Richard Schechner's 1968 article.
"Theater transcends mere plots. The biggest difference between theatrical dramas and TV shows or movies lies in their live nature," Zhang said.
"We're telling a story through the environment, within that environment; we can bring you back to 2005, where you can physically touch a milk carton from 2005 or a computer from 1998."
According to Zhang, the first drama of the Detective Zhao Gan'e series was more experimental, aiming to attract and familiarize the audience with this genre of theater.
"There were more interactions and games like Train Dance in the first installment. In the sequel, we're more focused on theatrical expression, conveying a more mature and touching story," he said.
Li Huiling, a 30-year-old theater enthusiast who enjoys musicals, dance dramas, traditional plays, and environmental theater, said that her initial attraction to Detective Zhao Gan'e was its interactive games.
"I wasn't familiar with this immersive drama style, so I was surprised when the cast came out and chatted with us during the 30 minutes before the performance," she said.
"They would inform us in advance of the parts that require our cooperation or reaction. I think it's also a chance for them to gauge the audience and decide who to interact with more."
Li Muyi pointed out that in immersive theater, where actors are in closer physical proximity to the audience, there is a need for heightened awareness and adaptability to audience responses and energy levels.
Sometimes, however, the audience may get overly excited and too chatty.
Li Huiling recalled watching Detective Zhao Gan'e when the actor playing the senior police officer told everyone to be quiet in a serious tone.
"He stayed in character, which felt believable and kept us immersed in the story," she said.
Li Chenhui, 34, who plays an alternate for Zhao Gan'e, noted that although the interactions with the audience are controlled and limited in the sequel, challenging cases do arise from time to time.
"Zhang taught me that if it seems like the audience is picking on us or going too far, a simple compliment like 'Okay, that was a pretty interesting line; keep it up next time' can help resolve the situation and restore the flow," he said.
Artistic freedom in theater
In Zhang's opinion, the audience is simply expressing what they want through theater. Resonance occurs as spectators watch the actors; whatever lesson or emotion the audience takes home is entirely up to them.
"Growing up doing all kinds of reading comprehension tests was really painful, so I reject the idea that only one interpretation is considered correct," Zhang said.
Li Yu, 32, also a theater director, agrees. He believes theater is one of the most inclusive art forms.
"Everyone has the liberty to express and create what they love. This diversity is what makes theater so captivating. That's also why we've chosen this medium of expression," he said, adding that the audience also has the freedom to interpret what unfolds on stage.
One example is Ye Xing Ji (Traveling at Night), a current collaboration between Li Yu and director Zhao Jieyu. They describe it as a "black box small theater" production, featuring minimalistic settings — a square dark room. However, some audience members would classify it as immersive theater.
"They found it to be a fascinating experience, stating 'for the first time ever, both the audience and the stage were in the dark'," said Zhao, 29. "The atmosphere we created using multimedia and real-time shooting made the play more convincing, which led the audience to momentarily forget they were watching a theatrical performance."
According to Zhang, audiences update their preferences for theater experimentation every 5 to 10 years. "If you want to keep your plays vibrant and popular, you need to be accepted and appreciated by the new batch of viewers. Another way is to stay young and creative yourself," he said.
Zhang believes that one of the reasons that immersive plays are gaining popularity is that more and more young people are coming to the theater. Another reason is that many drama enthusiasts are no longer satisfied with traditional plays.
For Li Huiling, immersive plays like the Detective Zhao Gan'e series enhance user engagement.
"There are many things that you can no longer see in 2024, but they can be brought back to life on stage, surrounding you. Immersive dramas have this special energy," she said.
"I appreciate all beautiful things, but when I watch an immersive play, the satisfaction and emotional value can't be replaced by having a nice meal or buying something I like."
For Li Chenhui, theater, especially the immersive kind, carries immense emotional value as an actor.
"The entire process of drama — from preparation to each performance — brings me joy," he said. "Through theater, all negative emotions in my life are processed, leaving me happy and worry-free when I return home."
