VIRTUAL PERFORMANCE SPACES AND THE FUTURE OF LIVE ART EXPERIENCES
DOI:
https://doi.org/10.29121/shodhkosh.v7.i3s.2026.7324Keywords:
Virtual Performance Spaces, Digital Performing Arts, Virtual Reality, Augmented Reality, Immersive Media, Audience Engagement, Interactive Storytelling, Metaverse, Digital CultureAbstract [English]
The rapid evolution of digital technologies caused the radical shift of the environment of performing arts and new virtual performance spaces were developed that are transforming the manner in which live art experiences were being developed, delivered, and experienced. Traditional performing arts have always been premised on the physical space and close association between the acting and the audiences. However, in recent years, the development of immersive technologies, including, virtual reality (VR), augmented reality (AR), mixed reality (MR), motion capture systems, spatial audio technologies, and cloud-based streaming devices has made it possible to create dynamic virtual space and expand the limits of artistic expression to the stage. In this paper, the concept of virtual performance space and its role in revolutionizing the future of live performance of art will be discussed. The paper includes the review of literature of the present research on digital performing arts and review of the technologies which are involved in creating the illusion of immersible virtual performance environments. Various digital performance platforms, including live streaming platforms, virtual theatre platforms, and metaverse environments, are evaluated through the comparative analysis with the following criteria being evaluated: immersion, accessibility, interaction with the audience, scalability, and flexibility of production. Based on this discussion, it is proposed that a conceptual design of the virtual performance spaces be developed, comprising of the integration of immersive media technologies, interactive tools of audience participation and cloud based distribution infrastructures. Besides, the provided framework is predicted to be utilized in serving the whole lifecycle of digital performance production, including content creation and virtual staged design, real-time engagement with the audience and performance analytics
References
Arn, J. (2023, November 20). The Sphere and Our “Immersion” Complex. The New Yorker.
Banerjee, R., and Hazarika, I. (2014). Determinants of Financial Performance of Commercial Banks in Dubai, UAE: A CAMELS Model Analysis. In International Proceedings of AWBMAMD Conference.
Bringsjord, S., and Govindarajulu, N. S. (2024). Artificial Intelligence. In E. N. Zalta and U. Nodelman (Eds.), The Stanford Encyclopedia of Philosophy (Fall 2024 ed.). Metaphysics Research Lab. Retrieved April 18, 2025, from
Browne, K. (2021). Who (or what) is an AI Artist? Leonardo, 55, 130–134. https://doi.org/10.1162/leon_a_02092 DOI: https://doi.org/10.1162/leon_a_02092
Cao, S., Jiang, W., Wang, J., and Yang, B. (2024). From Man vs. Machine to Man + Machine: The Art and AI of Stock Analyses. Journal of Financial Economics, 160, Article 103910. https://doi.org/10.1016/j.jfineco.2024.103910 DOI: https://doi.org/10.1016/j.jfineco.2024.103910
Cao, Y., Li, S., Liu, Y., Yan, Z., Dai, Y., Yu, P. S., and Sun, L. (2023). A Comprehensive Survey of AI-Generated Content (AIGC): A History of Generative AI from GAN to ChatGPT. arXiv.
Cetinic, E., and She, J. (2021). Understanding and Creating Art with AI: Review and Outlook. ACM Transactions on Multimedia Computing, Communications, and Applications, 18, 1–22. https://doi.org/10.1145/3475799 DOI: https://doi.org/10.1145/3475799
Coulstring, M. (2023). iPhone History: From the Original Iphone to Iphone 16. Seamgen. Retrieved December 18, 2024, from
Dean, B. (2024). Snapchat Demographic Stats: How Many People Use Snapchat? Backlinko. Retrieved December 18, 2024, from https://backlinko.com/snapchat-users
Ganesan, M. P., Vasanthan, R., Govindaraj, C., Nabi, M. S. M., and Chong, S. T. (2025). Intelligent Learning Analytics for Adaptive Curriculum Design: A Multi-Modal Behavioural Study of Student Engagement. OIDA International Journal of Sustainable Development.
Heller, A., Sarnitz, S., and Spiel, H. (2023). Luna Luna. Phaidon Press.
Kumar, C., and Jadhav, K. (2023). Antecedents of Ecotourism Development: An Empirical Analysis of Case Study in Maharashtra. Academy of Marketing Studies Journal, 27(1), 1–9.
Lee, L. (2022). Worlds Unbound: The Art of Teamlab. Intellect. https://doi.org/10.1386/9781789384499 DOI: https://doi.org/10.1386/9781789384499
Lin, J. (2023). Old is the New: Immersive Explorations in Another Beautiful Country—Moving Images by Chinese American Artists. Arts, 12, Article 224. https://doi.org/10.3390/arts12060224 DOI: https://doi.org/10.3390/arts12060224
Mondloch, K. (2022). The Influencers: Van Gogh Immersive Experiences and the Attention-Experience Economy. Arts, 11, Article 90. https://doi.org/10.3390/arts11050090 DOI: https://doi.org/10.3390/arts11050090
More, S. S., and Birmule, P. R. (2025). Technology-Based Scheduling and Event Management in Sports. International Journal of Research and Development in Management Research, 14(1), 50–54. https://doi.org/10.65521/ijrdmr.v14i1.288 DOI: https://doi.org/10.65521/ijrdmr.v14i1.288
Moulick, J., Phursule, R., Kale, A. P., Rana, V. S., Goswami, S., and Karwande, V. S. (2025). Real-Time Crypt Analysis and Defense Mechanisms in Cloud Computing Services. Journal of Discrete Mathematical Sciences and Cryptography, 28(5), 1753–1761. https://doi.org/10.47974/JDMSC-2175 DOI: https://doi.org/10.47974/JDMSC-2175
Purić, B. (2024). Inside André Heller’s Luna Luna: The First and Only Art Amusement Park, Rediscovered After Decades. Loophole. Retrieved December 10, 2024, from
Rawandale, U. S., Kotkar, S., and Middha, S. (2025). Self-Learning Adaptive Hearing Aid Filter Using Q-Learning. In 2025 International Conference on Information, Implementation, and Innovation in Technology (I2ITCON) ( 1–6). https://doi.org/10.1109/I2ITCON65200.2025.11210507 DOI: https://doi.org/10.1109/I2ITCON65200.2025.11210507
Schuld, D. (2023). Augmented Reality and the Dematerialization of Experiential Art. Arts, 12, Article 116. https://doi.org/10.3390/arts12030116 DOI: https://doi.org/10.3390/arts12030116
Suri, S., Lakshman, K., Goyal, E., Goyal, G., Sood, G., Mirajkar, G. S., and Anerao, P. (2025). Emotion Modeling in Sculpture Design Using Neural Networks. ShodhKosh: Journal of Visual and Performing Arts, 3(3s), 31–40. https://doi.org/10.29121/shodhkosh.v6.i3s.2025.6756 DOI: https://doi.org/10.29121/shodhkosh.v6.i3s.2025.6756
Sutton, G. (2017). Between Enactment and Depiction: Yayoi Kusama’s Spatialized Image Structures. In Yayoi Kusama: Infinity mirrors. Hirshhorn Museum and Sculpture Garden.
Vaidya, C., Chopade, S., Khobragade, P., Bhure, K., and Parate, A. (2025). Development of a Face Recognition-Based Attendance System. In 2025 12th International Conference on Emerging Trends in Engineering and Technology – Signal and Information Processing (ICETET-SIP) ( 1–6). https://doi.org/10.1109/ICETETSIP64213.2025.11156883 DOI: https://doi.org/10.1109/ICETETSIP64213.2025.11156883
Published
How to Cite
Issue
Section
License
Copyright (c) 2026 Dhanalakshmi V, Shanthi P, Damodaran B, Nishaa Bharathi M, Veda Vijaya T, Cheng Xinwen
This work is licensed under a Creative Commons Attribution 4.0 International License.
With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute, and/or copy their contribution. The work must be properly attributed to its author.
It is not necessary to ask for further permission from the author or journal board.
This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.
