Virtual reality technology has taken the artistic performance world by storm at the Shanghai International Consumer Electronics Show. One of the highlights of the event was the immersive opera “Daiyu Buried Flowers,” which showcased how new technologies can revolutionize the way we experience art.
Using XR glasses and small screens, audiences were transported into intricate microscopic scenes from the Yue opera “Dream of Red Mansions,” such as “Sansheng Stone,” “Rongguo Mansion,” and “Qinfang Bridge.” The boundary between virtuality and reality blurred as familiar opera excerpts played, and viewers found themselves walking side by side with the characters in the play.
The immersive experience of “Daiyu Buried Flowers” was made possible by a combination of mixed reality (MR), projection, 3D printing, and other technologies. Situational stage installations broke the barrier between physical space and virtual space, allowing audiences to fully immerse themselves in the performance.
The team behind the production meticulously designed stage props, scenery, and Yue opera actors’ performances as virtual elements. Using identification and tracking technology, they overlaid and integrated virtual space with physical space. This integration ensured that every device, building, and prop in reality corresponded to the virtual and real performance pushed to the audience in the physical art installation space.
Zhang Jingping, the project leader and a professor at the Creative School of Shanghai Theater Academy, has been at the forefront of blending virtual reality and drama. His previous works include AR interactive stage installations and AR Yue Opera performances. Zhang’s motivation for incorporating new technologies into traditional opera is his deep appreciation for the uniqueness and beauty of the art form.
He believes that mixed reality (MR) technology is particularly well-suited for dramatic experiences, as it combines virtual and real content, blurring the boundary between them. Unlike fully virtual VR, MR allows users to maintain a sense of reality and offers a non-linear narrative, giving audiences more control over their viewing experience.
Zhang does not envision new technologies replacing traditional stage performances but rather sees them as supplements that enhance existing forms. He emphasizes the importance of locality in future applications of MR technology, as it can bring drama into non-traditional performance spaces and breathe new life into historical and cultural sites.
To facilitate rehearsals and further explore the possibilities of MR technology, Zhang’s team developed the “Meta Theater System.” This system allows for cross-campus play rehearsals and replicates the functions of physical theaters while expanding and extending them into multiple dimensions. It represents the cutting edge of performing arts and theater in the future metaverse.
Zhang envisions a future where audiences can enter virtual spaces with their MR equipment, interact with digital characters, and watch performances freely in 360 degrees. Just as audiences currently buy tickets to enter physical theaters, they may soon have the opportunity to attend virtual performances at designated moments.
The immersive opera “Daiyu Buried Flowers” at the Shanghai International Consumer Electronics Show has demonstrated how virtual reality and new technologies can transform and innovate the form of artistic performance. It opens up new possibilities for the performing arts industry while offering fresh ideas for the integration of culture and tourism in cities.