A Case Study on the Enhancement of Extended Reality Technology in Digital Stage Production for Chinese Traditional Poetry-Inspired Dance Arts

A Case Study on the Enhancement of Extended Reality Technology in Digital Stage Production for Chinese Traditional Poetry-Inspired Dance Arts | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article A Case Study on the Enhancement of Extended Reality Technology in Digital Stage Production for Chinese Traditional Poetry-Inspired Dance Arts Bin Lu, Jianzhong Xu This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-7369628/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract The integration of digital stage technology into traditional cultural and historical poetry dance arts not only generates novel cultural communication effects but also enhances cultural inheritance and social identity, while promoting global cultural dissemination. This study presents a case study on the enhancement and user experience evaluation of Extended Reality (XR) technology in the context of digital stage applications, focusing on the convergence of digital stage technology and emerging forms of traditional cultural aesthetics through experimental arts education. It further explores the communicative significance and social value of integrating XR technology with classical poetry, particularly the works of Du Fu, a renowned poet of the Tang Dynasty in China. Additionally, the study assesses the willingness of student audiences to accept the integration of XR and traditional poetry-inspired dance arts through immersive experience evaluations. The research adopts a mixed-methods approach combining qualitative and quantitative methodologies. The sample population consists of second- and third-year arts students from the School of Arts at a Henan University, China, to evaluate their receptiveness to artistic design reforms incorporating XR digital technologies and to provide insights for future market applications. Research findings indicate that the application of digital technologies, such as clone mirror and motion capture systems, in the presentation and teaching of traditional Chinese poetry-based dance arts not only enhances audience engagement and achieves a more effective synthesis between XR technological modes and vivid cultural heritage transmission methods, but also contributes significantly to the effectiveness of market development and international communication of intangible cultural heritage. Humanities/Cultural and media studies Social science/Cultural and media studies Business and commerce/Information systems and information technology Humanities/Literature Humanities/Medical humanities Social science/Science technology and society extended Reality (XR) technology traditional poetry-Inspired dance arts immersive experience communication of intangible cultural heritage market development Introduction With the advancement of technology, the application of digital media in the field of art has experienced rapid growth. Digital media technology offers advantages such as scene substitution, virtual reality, enhanced audiovisual experiences, and high cost-effectiveness. As a result, it has gained widespread adoption among contemporary artists and cultural creators, particularly in relation to future market development. The integration of digital media technology with stage art is further supported by the effective application of montage techniques from “Audiovisual Language” within the domain of film and television communication. Through the integration of XR stage design, digital lighting, and electronic special effects music, a harmonious synthesis of “stage cinematization” and “performance modeling” has been achieved. This integration also enables immersive interaction and active participation between performers and audiences within the XR-enhanced stage environment. The application of digital media art that aligns with aesthetic principles has significantly enhanced the artistic value of XR-enhanced stage design and contributed to the dissemination and evolution of contemporary artistic trends. However, challenges remain in this developmental process. Several contradictions have emerged across different dimensions. First, in some cases, the digital form overshadows the cultural content, drawing criticism from art experts and cultural critics. Second, digital technologies are sometimes unable to fully realize the intended design or presentation goals—particularly in traditional art performances that incorporate digital stage techniques—where the effectiveness of human-computer interaction fails to meet audience aesthetic expectations, thereby affecting their audiovisual perception. Third, there is potential interference caused by audience participation, which may disrupt the artistic performance of the performers. Therefore, it is essential to develop a systematic understanding of the characteristics of digital media art and its application effectiveness in the presentation of traditional arts, in order to support future applications within the field of traditional artistic expression. Experimental arts teaching cases can offer valuable insights and propose innovative strategies for the upgrading and integration of digital technologies in traditional arts, contributing to the formulation of precise digital discourse concerning artistic performance structure, internal cultural attributes, and digital stage art design forms—ultimately enhancing the emotional expression of performers and the appreciation experience of audiences. This study selects the renowned Chinese traditional poetry dance “Xi He Jian Qi” (also known as “The Sword of West River”), which integrates poetry, calligraphy, martial arts, drawing, and dance, as the core subject within an arts design teaching program. An experimental research approach is adopted to explore innovations in digital stage art design education. The research involves designers and educators as experimenters, with third-year arts major students participating as audience-experience subjects. The comparative sampling includes two forms of traditional poetry dance: one enhanced with XR technology and the other represented through conventional design approaches. This comparison aims to identify the effectiveness of digital stage art design in promoting the inheritance of Chinese traditional arts and advancing teaching innovation. Research Aims In order to advance arts education through the integration of digital stage technology within traditional digital media and to identify appropriate strategies for aligning with the aesthetic standards of the emerging digital drama industry, this study aims to incorporate the updated spatial perception and spatial experience from real-time environmental art curricula into digital stage arts education. It further seeks to integrate the spatial thinking inherent to environmental art disciplines with the enhancement provided by digital stage technologies, and to reapply this synthesis in the development of stage art education models for future professional training and market-oriented applications. Both fields utilize space as a central medium, encompassing both physical and psychological dimensions. The study involves structural design of space, visual imagery, the integration of time and space within artistic activities, the interplay between space and light or shadow, the contrast of space and sound, as well as a series of conceptual frameworks related to shared spatial experiences. By connecting stage art technology design with environmental art thinking through the medium of new stage media, the creative understanding of stage art is redefined, leading to the development of a novel mode of artistic creation. Research Questions (1) What are the key characteristics of spatial structure, visual expression, cultural integration approaches, and human-computer interaction in the application and XR enhancement of traditional cultural dance arts? (2) What are the perceptions and attitudes of arts students as an audience toward XR-integrated digital stage applications and the associated viewing experiences? Research Methods This study employs a theoretical research methodology to compare traditional artistic presentation and classical poetry dance arts with their contemporary interpretations through digital stage technology. It analyzes potential design strategies for a new model of arts education enhanced by XR within the context of digital stage technology, aiming to identify the pedagogical outcomes and effectiveness of this innovative experimental approach in digital arts programs. Survey Research Method This method involves conducting survey research to evaluate the effectiveness of digital stage applications in traditional poetry-inspired dance arts within teaching design. It aims to examine varying attitudes toward the integration of traditional cultural art design with the enhancement of application competencies among arts major students, thereby providing real-time and reliable data to support the experimental study. Experimental Research Method This method entails implementing XR-enhanced digital stage designs and testing the immersive audience experiences of student participants through typical cases of traditional poetry-inspired dance performances. It includes analyzing the outcomes of the experimental research to offer reference insights for future applications of digital stage arts and strategies for quality improvement in market-oriented implementations. Literature Review The application of digital stage presentation and technology in traditional poetry-inspired dance arts has introduced novel innovations and expressive possibilities to Chinese traditional artistic culture. Through the integration of digital stage technology, dancers and choreographers are able to utilize digital tools to design movements, visual effects, and immersive experiences that were previously unattainable, thereby achieving a higher level of aesthetic expression and audience engagement. The framework of this experimental research is built upon recent scholarly reviews of digital stage applications in China, focusing on the following three aspects. Application of Virtual Reality and Augmented Reality in Traditional Dance Arts The first category of research focuses on how virtual reality (VR) and augmented reality (AR) technologies can be utilized to expand traditional performance formats and enhance audience experiences within the realm of classical stage aesthetics. This includes innovations such as the creation of virtual stages and the incorporation of interactive elements. By comparing The Banquet at Tang Palace with the stage version of Tang Terracotta Warriors , Wang Bin (2022) explored the cross-media phenomenon in the choreography of “The Banquet at Tang Palace.” The performance integrates AR, 5G, and other advanced technologies to present architectural elements, paintings, cultural relics, and more, seamlessly blending them with the movements of the dancers. Wang Chen & Xie Xin (2020) developed and implemented the VR-CAVE stage theoretical model, achieving favorable outcomes. The study highlighted that the integration of immersive virtual reality into stage design contributes to improved spatial utilization and enhanced audience engagement. Fu Jianqin (2019) analyzed the application of LED technology, audio-visual effects, and virtual reality in dance aesthetics through case studies. She concluded that these multimedia technologies significantly enhance the artistic expression of stage performances, playing a crucial role in amplifying the visual impact and aesthetic appeal of traditional dance. MR Effects and Projection Mapping The second category of research focuses on the application of mixed reality (MR) effects and projection mapping technology to simulate clone camera movements, create visually striking dance performances, and transform stage design and visual experiences. Yang Dongyan (2023) argues that in the dance-poem drama The Journey of a Legendary Landscape Painting , the integration of 3D holographic projection and live stage performance generates a compelling audiovisual experience. Furthermore, 360-degree holographic projection enables interactive linkage between performers and the audience. Wang Yinan (2022) analyzed the visual effects employed in the stage production of Poetic Dance: The Journey of a Legendary Landscape Painting , including dynamic concentric rings, deep and winding three-dimensional scrolls, and immersive visual illusions created through virtual reality. These elements provide the audience with a novel and multi-layered sensory experience. Deng Yachuan (2020) presented numerous case studies to illustrate how holographic projection technology enhances the audience’s perception of spatial depth on stage. The study highlights that the integration of contemporary dance with holographic technology enables the realization of mirror-like reality through virtual reconstruction. Interactivity and Participation The third category of research focuses on how digital technologies enable traditional dance to engage with audiences and explores strategies to enhance audience participation through digital media in preparation for future advancements in XR technology. Based on the interactive possibilities introduced by technological developments in digital interactive dance, Tian Tian ( 2020 ) analyzed its interaction design principles. Hepointed out that the interactive dance model, which involves creating artistic imagery through motion capture technology and real-time simulation, and enabling interaction via coding, can effectively support, stimulate, and enhance live interactive artistic performances. Yu Youyou (2015) classified the innovative forms of "interactive dance" under new media technology according to different interaction modes and the functional application of media. These include patch-based interactive dance, hybrid interactive dance, and dependency-based interactive dance, which were elaborated through case studies. Using the variety show “2060” as an example, Dong Yuzhi & Hong Xibei (2022) highlighted that the program created an immersive participatory space for audiences through media platforms, attractive engagement strategies, and direct invitations to participate, thereby enhancing audience involvement and communication enthusiasm. Polyxeni Mantzou ( 2023 ) enriched cultural heritage via the integration of art and digital technologies. Other scholars have explored related topics such as stage Wushu as a performing art (Dong, 2024 ), the transition from stage to screen (King, 2018 ), the musical artistic conception and aesthetic appeal of classical poetry (Lan, 2023 ), the role of virtual reality in promoting ethnic dance drama (Li, 2019 ), the communicative potential of Chinese dance within a digital context (Yu, 2022), the preservation and innovation of folk dance through motion capture technology (Meng, 2017 ), the Peranakan Performing, Visual, and Material Arts (Patricia Matusky, 2020), the cross-cultural communication of Chinese dance imagery (Zhang & Zhao, 2021 ), the application of digital technologies to introduce gamification into education under Industry 4.0 (Zhukova et al., 2023 ), the digital preservation of the Tujia Waving Dance (Zhu, 2019 ), and eclectic cultures for all: the development of the Peranakan performing, visual and material arts in Penang (Neo David 2020 ). Material and methods The application of digital technologies such as multimedia video scenes, digital lighting, 3D-printed props, digitally printed costume patterns, and audience-oriented new equipment is no longer novel. The integration and utilization of digital media on stage have become increasingly prevalent due to advancements in digital media art design—often referred to as digital theater art. This form of art combines new digital elements with traditional stage components and theatrical performances, enhancing narrative delivery. It has emerged as a crucial technical approach in contemporary stage art creation, prompting significant transformations in the conceptual frameworks, models, and forms of stage design, and introducing new aesthetic expressions in theatrical presentation. This artistic approach constructs a performance environment that leverages digital media and relies on interactive art models to engage live performances, reconstruct theatrical space, and generate immersive experiences. As a result, it establishes a new type of dramatic narrative relationship tailored to diverse theatrical environments. The fusion of the physical and the virtual represents a systematic transformation in the concepts and methodologies of stage art performance. In this context, “physical” refers to the tangible elements and content of traditional stage art, such as scenery, lighting, costumes, and props. “Virtual,” on the other hand, does not pertain to abstract planning or control strategies, but rather to the digital technologies that support stage equipment and play a key role in conveying emotional and atmospheric effects on stage. This experimental study focuses on the application and design of XR technology in digital stage art by exploring three-dimensional spatial design that delivers interactive aesthetic experiences to the audience and introduces new modes of aesthetic expression through spatial symbolism. Through a case study involving a renowned Chinese poetry dance and the experimental design of its digital stage adaptation, the research evaluates the experiential effects among an audience of arts students. The findings aim to provide a reference framework for future applications of digital stage technologies, the development of artistic competencies among arts students, and potential pathways for market-oriented implementation. The Description of Experimental Research In this experimental research, virtual reality within the interactive scene is expanded through the integration of digital media technology, mobile device-based experimental design, and tactile interface equipment, specifically tailored for arts student participants. The experience progresses from the reflective display space of the mirrored stage to tangible reality devices, and further extends to virtual input and output methods. Stage art leverages XR technology to accurately identify action objects, position virtual imagery, and analyze suitable digital elements based on the preferences and requirements of the target audience. XR-enhanced technology enables the construction of performance displays across different spatial zones, facilitates content output within these defined spaces, collects audience feedback through specialized equipment, and supports subsequent modifications and re-creative iterations. Research Subjects The subject of this experimental research is to evaluate the application effectiveness of digital stage utilization in the performance of “Xi He Jian Qi” and to assess the user experiences of arts students and teachers. Table 1 provides a detailed overview of the relevant subject information. Table 1 Digital design characteristics of the Chinese traditional dance Number Teaching Items Digital Stage Technology Design Sampling Contents 1 Traditional dance with digital stage design Chinese traditional dancing, martial arts, calligraphy and historical atmosphere “Xi He Jian Qi” or “The Sword of West River” 2 Traditional dance art category Chinese traditional dance art category Chinese classical dancing based on Chinese famous poetry 3 Traditional dance performance design mode Traditional dance performance design mode with digital stage technology design By using three-dimensional technology, action tracking, real-time interaction means. 4 Core arts expression on traditional dance performance for digital design mode Chinese sword dancing on tehe integration traditional performance with digital technology stage mode The combination of literary nature and Chinese aesthetic interaction, expressed by Gongsun aunt “sword dancing dance” 5 Digital stage characteristics Chinese Traditional dance, Chinese aesthetic arts forms, and digital stage characteristics By using a square closed space, the whole reconstructed picture revolves around the digital image and the landscape image 6 The implication of traditional culture (classical dance) and reality (modern dance) The origin of Chinese famous poetry with traditional culture (classical dance) and reality (modern dance) The work takes the title of “Aunt Gongsun,” a dancer in the Tang Dynasty, and retains the poem image in the poet Du Fu’s “Watching Aunt Gongsun’s Disciple Sword Dance. ” 7 The core arts expression by digital technology stage design Traditional dance incorporates the combination between calligraphy cultural design and digital technology arts design The cursive writing and the prosperity of the Tang Dynasty more sense of science and technology. 8 Virtual dance environment Whether to use the virtual dance environment yes Research Objects The subject of this experimental research is “Xi He Jian Qi”, a traditional dance inspired by the renowned Tang Dynasty poet Du Fu’s famous poem “Guan Gongsun’s Disciple Sword Dance.” Du Fu, one of China’s greatest classical poets, composed this work with a preface written in a prose-poetic style. The poem reflects on the poet’s childhood memory of witnessing the extraordinary sword dance performed by the renowned dancer Aunt Gongsun, and his subsequent emotional response upon watching her disciple, Li Twelve Niang, perform the same dance in later years. The poem evokes both past and present: the memory of the master’s performance and the reality of the disciple’s rendition. It also highlights an artistic resonance between the sword dance and the development of calligraphic art by Zhang Xu, another celebrated Chinese calligrapher who was inspired by the rhythm and motion of sword dancing. The overall tone of the poem is grand, solemn, and imbued with a sense of melancholy and historical reflection. The imagery of the sword evokes sorrow for the lost glory of the past, expressing the poet’s deep concern for the present and lamenting the decline of the dynasty and the social conditions of his time. Structurally, the poem is based on the Yongli era, yet it reflects back on the reign of the founding emperor, conveying the poet’s nostalgia for a golden age and mourning the current state of affairs. The language is rich yet restrained, and the rhythm is complex and emotionally nuanced. The audience interaction mode facilitated by digital stage technology in this performance is presented in Table 2 . Table 2 Audience interaction mode of traditional dance digital stage Number Items Contents Tools 1 Digital stage type Hypertime stereo picture (1) Scene transient with VR/MR; (2) Immersive projection 2 Digital stage audience interaction mode In non-performance time, the audience can walk on the stage to experience the interactive effect (1) Motion capture and virtual avatars (2) Stage space scale transformation (3) Virtual-real fusion stunt 3 Form of audience interaction Men, women, children and children can dance freely on the interactive stage (1) Special projection system for audience (2) Remote performance and digital clone 4 Audience interaction effect The audience became the performers, after the exhibition, recorded the wonderful dance of sentient beings (1) Immersive experience (2) Interactive experience (3) Generative experience 5 Digital stage audience interaction time In addition to the performance time, the audience also becomes the dancers in the space, and records the wonderful dance of all living beings. (1) Interactive positioning and tracking (2) Special effects production As shown in Table 2 , the experimental teaching within digital arts design programs involves a comparative analysis between the enhanced effects achieved through XR technology and those of traditional arts design approaches, with a focus on participants’ level of engagement and experiential depth. The integration of digital technology improvements is demonstrated through the following experimental presentation modes. Table 3 Digital improvement of experimental design mode Number Digital Interaction on Sward Gestures Screening Touching Numbers Digital Drumbeats Background close-up Digital Calligraphy Holosystem projection Audience interaction 1 Sward lower-thrust with a knee lifted(提剑上刺) Less than 5 jumps Smaller beats Close-up of martial arts moves Previous screen 1 Audience digital lights 2 Sward Hack with a House Stance (弓步劈剑) More than 10 jumps Bigger beats Close-up of calligraphy 360 degree screen 3 Audience digital drums 3 Sward Thrust Horizontally with a leaping Step (跳步平刺) More than 10 jumps Bigger beats Zoomed-in close-up of dance moves 360 degree screen 3 Audience digital lights 4 Sward Downward Parry and Point (持剑前点) Less than 5 jumps Smaller beats Close-up of Chinese aesthetics Previous screen 1 Audience digital lights 5 Sward Slice with a Bow Stance (弓步削剑) More than 10 jumps Bigger beats Close-up shot of calligraphy, dance and martial arts integrated into one 360 degree screen 3 Audience digital lights As indicated in Table 3 , the audience is expected to collaborate with the performers through the integration of comprehensive digital arts design. When the digital stage system becomes operational, the digital remote-control unit is activated, allowing the audience the option and autonomy to press buttons to control lighting or sound effects, such as drums, to interact with the dancers—or not. This interactive feature significantly enhances the audience’s experiential engagement, contributing to an improved digital environment and overall participatory experience. This experiment focuses on assessing arts students’ perceptions of digital arts design, particularly in relation to the emotional responses of different audience participants to the newly integrated digital enhancements. The goal is to increase their willingness to engage with digital stage design courses and to develop their competence in digital arts design. Research Participants The research participants of this study consist of third-year traditional dance students from the School of Arts at a Henan University, China. The selected sample includes students who are currently enrolled in digital stage arts courses and have, after completing two to four semesters of dance training, developed a foundational understanding of integrating new digital design techniques with traditional dance art forms. Given their level of theoretical and practical engagement with dance culture presentation design, third-year arts students are better positioned to dedicate time and effort to hands-on digital stage design projects. The participant group comprises a total of 59 students, including 29 male and 30 female students, with an age range of 19 to 21 years. Therefore, this experimental study on the integration of digital technology in traditional dance performance aims to explore effective strategies for utilizing digital stages in traditional dance design and presentation. The Description of Experimental Design on XR Technology Enhancement This study conducts a comparative analysis between traditional arts design and digital stage design enhanced by new digital technologies. The attitude assessment aims to measure the differences in experiential perception and learning willingness among arts students regarding the use of digital stages and related courses. This process encourages students to engage in deeper reflection on their future arts design practices through practical integration, as both creators and audience participants. The experiential responses of two groups of arts participants are documented by the researcher, and audience experiences are evaluated through tests and interviews following the implementation of the digital stage teaching experiments. Creating a Space for Dialogue: Forming Cross-cultural Exchanges In this section, the experimental research aims to establish a successful model of “cross-cultural dialogue,” which encompasses the interaction between dance and calligraphy, antiquity and modernity, culture and art, space and time, as well as art and digital technology. This form of dialogue facilitates a deeper understanding of the aesthetic functions within digital arts stage design courses. It also serves to provide guiding principles for advancing ethnic cultural exchanges through the diverse manifestations of art and technology. The enhancement methods of this cross-cultural dialogue will be demonstrated through the integration of background close-ups, lighting effects, and drum sound design. Building a Communication Platform: Forming an Artistic Spectacle Characteristics of digital vision platforms In this section, the experimental research aims to emphasize the spiritual expression of the program’s subject within the interactive activity. Specifically, this experimental teaching approach seeks to create artistic spectacle characteristics through digital visual platforms that facilitate both artistic and cultural interaction for audience engagement. The participants’ activities involving digital drums and lighting systems enable the audience to fully experience the emotional and aesthetic resonance of the performance. The enhancement methods of this artistic spectacle characteristic will be demonstrated using a 360-degree screen, Holosystem projection, and audience-controlled digital lighting systems—each equipped with individual switches—where more synchronized audience actions result in amplified close-up visual effects. Dialectical Value Orientation: Forming Consciousness Orientation In this section, the experimental research aims to convey the positive values embedded in traditional arts aesthetics and the cultivation process associated with them. It also seeks to demonstrate a distinctive Chinese artistic consciousness through diverse expressions of traditional culture. The integration of new digital technologies and sound effects enhances the audience’s immersive experience, deepening their emotional and aesthetic engagement with traditional Chinese sword performance and the harmonious fusion of traditional art forms. This constitutes a primary objective of the study: to facilitate students’ acceptance of innovative art design approaches, and to strengthen their artistic presentation competencies and digital skills for future professional development. Data Analysis and Results Discussion The research employed the SPSS tool to analyze the data, ensuring the reliability and validity of the questionnaires both before and after the implementation of the application activity. Reliablity and validity analysis of questionnaire This section presents the reliability and validity of the questionnaire designed to assess arts students’ attitudes toward the application of digital stages in traditional dance design. The data were analyzed using SPSS 26.0, with the results presented as follows: Table 4 Reliability Analysis of questionnaire Cronbach’s Alpha α N of Items Questionnaire .737 15 Table 5 KMO and Bartlett’s Test of Questionnaire Post-questionnaire Kaiser-Meyer-Olkin Measure of Sampling Adequacy. .831 Bartlett’s Test of Sphericity Approx. Chi-Square 528.204 df 91 Sig. .000 As shown in Table 4 , the Cronbach’s alpha coefficient of the initial questionnaire is 0.737, which is above the threshold of 0.6, indicating that the questionnaire demonstrates acceptable internal consistency and reliability. The experimental sampling is therefore considered reliable. According to Table 5 , the KMO measure of sampling adequacy obtained through SPSS analysis of the application data and student audience experience is 0.831, which exceeds the minimum acceptable value of 0.5. The significance value (p-value) for Bartlett’s Test of Sphericity is 0.000, which is below 0.05, suggesting a strong intercorrelation among variables and confirming good structural validity. Additionally, a correlational analysis was conducted. Data collection and analysis of questionnaire Following the organization of the questionnaire data, the study conducts multi-level analyses of digital stage usage in traditional dance design: Student audience’ satisfied degree of new traditional arts design Table 6 Student audience’ satisfied degree of audience interaction experience Degree Percent Very satisfied Satisfied Not sure Dissatisfied Very dissatisfied 66.37% 22.89% 10.46% 0.28% 0 As shown in Table 6 , students’ perceptions and audience experiences regarding the experimental design of digital stage applications indicate a high level of agreement. It was found that the majority of students believe that the integration of digital technology with Chinese traditional dance arts, calligraphy arts, and martial arts significantly enhances the presentation of traditional Chinese aesthetics. However, most students reported difficulties in collaborating with digital stages, as they require more instructional programs focused on digital technology interaction practices and holographic projection integration courses. Students indicated that they would be more likely to engage with digital stage technologies if such educational programs were provided by their instructors. This suggests that art students require greater guidance in understanding the diverse and integrative forms of Chinese artistic aesthetics. This emerging need presents a significant challenge for the professional development of art educators in the domain of Chinese traditional arts integration. Student audience’s interaction frequency during the arts show Table 7 Student audience’s interaction frequency during the arts show Frequency Percent Very often 13.46% Sometimes 39.74% Seldom 33.97% Never 12.18% As presented in Table 7 , students reported having limited opportunities to engage in digital stage application courses, except when participating in their instructors’ dance programs or performances. Additionally, they have few chances to incorporate personal reflection and digital design into their own traditional dance practice. While some students occasionally engage in relevant training exercises, such opportunities are not widely available to all dance arts majors. The majority of students consider exercises involving digital stage technology to be a crucial component in enhancing their artistic aesthetic capabilities. Student audience’s willingness of participation in digital stage design project Table 8 Willingness of participation in digital stage design project Attitude Percent Very agree 31.49% Agree 43.95% Not sure 16.87% disagree 5.77% Very disagree 1.92% As presented in Table 8 , the majority of students expressed a willingness to attend a digital technology class at least once a week, and they believe that art teachers’ proficiency in applying digital technology can contribute to the development of their own digital understanding within Chinese arts design. Meanwhile, 16.87% of students selected "Not Sure," as they lack confidence in other forms of Chinese traditional culture, such as calligraphy and martial arts. These students also perceive the integration of Chinese artistic traditions with digital stage technology as requiring a high level of foundational art skills and aesthetic competence. Student audience’s feedback of participation in digital stage design project Table 9 Feedback of participation in digital stage design project Number Items Satisfaction 1 Equipment on Palm drumming 93.22% 2 VR glass 62.71% 3 Remote control 47.45% 4 Lights 42.37% 5 Movie props 33.89% As presented in Table 9 , the majority of students expressed satisfaction with the “Equipment on Palm Drumming.” This innovative device allows the audience to interact by producing electronic drumming sounds in response to the performers’ movements during dance and martial arts performances. Additionally, the audience can control the digital size of the clone image through this equipment, thereby enhancing their level of participation. A total of 93.22% of student audiences supported this interactive method. Regarding VR glasses, although they are commonly used across various fields, they no longer attract audience attention as effectively as before. In terms of audience satisfaction, movie props scored the lowest at only 33.89%. Due to their common use in art shows and theater performances, these props are no longer considered significant for future market development. However, according to student audience interviews, they may serve as derivative peripheral products linked to successful traditional theatrical performances. The comparative analysis on paired sample Table 10 Paired Sample T-test of the Writing Tests 95% Confidence Interval of the Difference Mean Std. Deviation Std. Error Mean Lower Upper t df Sig. (2-tailed) Paired Sample 1 Before and after experience test − .718 2.386 .323 -1.374 − .081 -2.253 59 .028 As shown in Table 10 , the paired sample t-test analysis of the pre- and post-participation test scores indicates an average difference of -0.718. This suggests that a higher level of satisfaction with the experience was achieved after the completion of the experimental research on digital stage application activities, compared to the scores obtained before and after the participation in the integration of Chinese artistic culture and digital application design. The results demonstrate a certain degree of improvement, indicating that the transformation in the digital technology teaching mode has had a positive impact on enhancing students’ dance performance. Discussion Research question 1: What are the main characteristics of spatial structure, image expression, methods of cultural integration, and human-computer interaction in the application and XR-enhanced presentation of traditional cultural dance arts? Based on the data analysis presented above, the digital design model of traditional dance represents an innovative artistic form that integrates traditional dance elements with modern technological tools. It is characterized by the use of digital technologies such as computer graphics, virtual reality, and projection mapping to digitize and reconstruct traditional dance movements and environments, thereby generating visually compelling performance effects. This model not only offers audiences an immersive artistic experience and expands the scope of dance innovation, but also provides performers with enhanced opportunities for artistic expression and creativity. It effectively integrates traditional cultural arts with contemporary aesthetics and technological advancements, enriching the expressive diversity of traditional dance. The digital design model of traditional dance combines digital tools with traditional performance forms to create distinctive choreographic presentations and interactive experiences. The following section outlines several digital design patterns in traditional dance and their key characteristics. Virtual stage and background The primary features of virtual stages and backgrounds include: (1) the use of digital stage technology to construct virtual stage settings and traditional cultural environments; and (2) the presentation of these virtual backgrounds through three-dimensional modeling techniques such as projection mapping and augmented reality, which are synchronized with dance choreography to generate distinctive visual effects. The key advantages of virtual stages and backgrounds are as follows: (1) they enhance the visual depth and richness of stage performances; (2) they significantly increase the audience’s sense of immersion; and (3) they enable rapid transitions between different scenes and digital lighting setups. Interactive projection and real-time effects The primary features of interactive projection and real-time effects include: (1) the use of interactive projection and real-time effect technologies that enable dancers to engage with virtual elements, thereby significantly enhancing their artistic presentation; and (2) the facilitation of audience participation through well-designed interactive activities, such as manipulating changes in virtual effects by selecting different stage areas. The key advantages of interactive projection and real-time effects are as follows: (1) they enhance the audience’s sense of engagement and involvement; and (2) they create a dynamic, immediate performance experience that bridges the interaction between humans and digital technology, performers and audiences, as well as traditional cultural arts and art learners. Virtual characters and animations The primary features of virtual characters and animations include: (1) the integration of stage projection systems—including floor projections, side screens, sky screens—and XR technology to construct a comprehensive and immersive visual environment; and (2) the incorporation of virtual characters and animations into dance performances, enabling interaction with real-life dancers. These virtual elements can take the form of humanoid characters, creatures, or abstract visual motifs, such as virtual flames, water currents, combat sequences, calligraphy, martial arts, and Zen-inspired imagery. These elements are seamlessly overlaid onto the physical stage and performers, resulting in visually striking effects that surpass traditional physical stage techniques. The key advantages of virtual characters and animations are as follows: (1) they enhance the creative depth and imaginative potential of the performance; and (2) they expand the artistic boundaries of dance performance and significantly enrich the audience’s experiential engagement. Digital music and sound design The primary features of digital music and sound design include: (1) the use of digital music production and sound design techniques to create an immersive auditory environment for both dancers and audiences, enabling interaction with virtual scene elements; (2) the synchronization of music with virtual dance elements to enhance visual and auditory coherence; and (3) real-time responsiveness to the transitions and dynamic changes occurring on the digital stage. The key advantages of digital music and sound design are as follows: (1) music can be seamlessly integrated with choreographic sequences, thereby enhancing the emotional depth and expressive power of the performance; and (2) sound design functions as a guiding element that directs audience engagement, encouraging active participation and delivering an immersive artistic experience. Holographic projection The primary features of holographic projection include: (1) the use of holographic projection technology to present three-dimensional virtual dancers or objects on stage. Technologies such as avatars, Unreal Engine, and inside-out tracking enable the transcendence of physical limitations inherent in traditional stages, unlocking the vast creative potential of traditional art forms; and (2) the ability for viewers to observe virtual elements from multiple angles, spatial levels, and perspectives. Inspired by classical Chinese poetry, for instance, master and apprentice figures can perform sword dances across different times and spaces, offering audiences a distinctive visual experience and a profound artistic impact. The key advantages of holographic projection are as follows: (1) it facilitates the creation of novel artistic expressions through the integration of XR technology in digital stage arts; and (2) it significantly enhances the visual intensity and immersive quality of the audience’s experience. Real-time data feedback The primary features of real-time data feedback include: (1) the use of sensors and real-time data systems that enable dancers to respond to audience movements or sounds instantaneously, thereby facilitating direct interaction between performers and spectators; and (2) the ability for audiences to observe dynamic changes in lighting and visual effects on the digital stage, which encourages more active participation throughout the artistic experience. The key advantages of real-time data feedback are as follows: (1) it generates a dynamic and responsive performance environment that fosters a sense of audience involvement in the artistic process; and (2) it delivers an unprecedented level of immersion and interactivity in the viewing experience. In summary, digital stage technology has significantly influenced the aesthetic and experiential dimensions of traditional dance and artistic presentation. It not only expands the possibilities for expressive and contemporary artistic interpretation, but also introduces new challenges in integrating emerging stage technologies with artistic integrity. The central challenge lies in achieving a balanced design approach that preserves and highlights the aesthetic and cultural values of traditional dance while leveraging modern XR technologies to create compelling and impactful performances. Research question 2: What are the attitudes of arts student audiences toward the application and viewing experience of XR-based digital stages? Based on the data analysis presented above, the majority of arts students support this innovative approach to art education through experimental integration, and they accept the new mode of digital technology interaction in traditional artistic performances. It is widely perceived that digital technology provides the necessary conditions for aesthetic innovation in traditional cultural dance, while also promoting the diversification of stage art forms, including experimental performances, interactive presentations, cross-disciplinary collaborations, and expanded, boundaryless stage spaces. Table 11 The arts students’ concern on digital stage technology courses Number Interesting Courses Percentage Ranking 1 XR technology course 88.13% First 2 Holographic projection and stage art integration course 81.35% Second 3 Traditional culture integration arts courses 77.96% Third 4 Audience experience design course 71.18% Forth 5 Virtual environment special effects course 64.40% Fifth As demonstrated through the experimental design and Table 11 , students perceive that digital technology has introduced both new opportunities and challenges to the contemporary development of stage arts. It has not only promoted the diversification and innovation of traditional cultural art but also enriched performance formats, enhanced audience interactivity, and increased the appeal and adaptability of stage art. Furthermore, digital technology has provided effective means for the broader dissemination of stage artworks, thereby facilitating cultural exchange and heritage preservation. However, with the increasing application and promotion of digital technology in the field of stage art, new challenges have emerged for the art education models in colleges and universities. The demands on the artistic and cultural integration capabilities of both educators and students have significantly increased. Conclusion Digital technology is reshaping stage art, transitioning it from traditional forms to multidimensional, cross-disciplinary expressions, and introducing new demands for talent development. XR technologies—VR, AR, and MR—revolutionize stage design, performance, and audience engagement, though they challenge traditional single-discipline artists to adapt. Integrating digital tools into art curricula is essential. Holographic projection creates virtual environments, merging digital imagery with performance to enhance expression. Educators should incorporate immersive experiences, helping students master traditional techniques while gaining digital skills. Interactive platforms can simulate stage design, boosting technical and creative capabilities. Practice-oriented teaching based on traditional art forms strengthens applied education. Combining cultural elements with digital design aids understanding of digital stages and fosters innovation. For example, digital adaptations of Chinese opera allow students to reconstruct historical settings and create virtual performances, preserving traditions while developing holistic skills. XR tools enhance immersive audience experiences, turning stage art into interactive platforms. Audiences can access virtual theaters, choose viewing angles, and interact in real time via gestures or voice to adjust lighting and settings, creating personalized engagements. This technology expands artistic creativity, with companies using motion capture for digital characters, enriching contemporary expression and opening new innovation avenues. In summary, digital technology transforms art creation and dissemination, raising talent requirements. Deep integration of technology and education is needed to cultivate interdisciplinary professionals for future stage demands, promoting ongoing development in the new era. However, this study is subject to certain limitations that require careful consideration. First, challenges related to real-time synchronous rendering persist. To achieve a realistic and immersive experience, the artistic design relies on complex 3D models with advanced visual effects. In mixed reality (MR) environments, precise synchronization between virtual elements and live performers is also required. The performance of current technological capabilities places such productions at risk of technical failure at any moment. Additionally, the current audience composition primarily consists of art students with foundational knowledge in both artistic and technical domains. If replaced by general audiences, the experience may not be as engaging, and some viewers may even experience discomfort or dizziness due to excessive visual transitions. These potential issues related to XR-based performance will be further evaluated in subsequent phases of this experimental study. Second, there exists an imbalance between digital technology and artistic expression. Overreliance on XR technologies and the interaction between virtual and real elements may lead to a prioritization of form over artistic substance. Excessive stylistic embellishment may fail to sustain audience engagement over time. Moreover, the complexity introduced by digital integration may cause discomfort, resistance, or even disengagement among traditional artists, thereby undermining the spontaneity and authenticity characteristic of live performance. Finally, the financial implications—such as high initial investment and potential audience discomfort—may increase market costs. These risk factors will be a key focus in future research. Declarations Funding The authors declare that no funding was received from the completion of the article. Author contributions BL implemented the research, analyzed the results, and drafted the manuscript. JX designed the study and proofread the manuscript. Both authors reviewed and approved the final manuscript. Data Availability The data is stored in the open database, and special permissions are not required to access it. Competing interests The authors declare no competing interests. Ethical approval The authors have adhered to the principles outlined in The Interim Measures for the Review of Science and Technology Ethics (China National Science and Technology Ethics Committee, No. 167 [2023]). Informed consent Informed consent was obtained from all participants prior to data collection. The study was conducted on March 10, 2025. Specifically, participants were provided with a written statement outlining the purpose of the study, assurances of anonymity and confidentiality, and a clarification that their responses would be used solely for academic research. We also informed the participants that the survey participation was entirely voluntary, and completion of the survey was considered to indicate informed consent. References Deng Y (2020) Reality in virtual mirror image: On the fusion of contemporary dance and holographic technology. Dance 64 (05):75-77 Dong G (2024) Martial Dance: Stage Wushu as a Performing Art. Critical Arts 38(6):1-11. https://doi.org/10.1080/02560046.2024.2340128 Dong Y, Hong X. (2022) Exploration and innovation of virtual image variety shows in the field of scene vision--taking “2060” as an example. News Lovers 37 (08):101-103 DOI:16017/j.cnki.xwahz.2022.08.013 Fu J (2019) Application and analysis of multimedia technology in Wumei Design. Sichuan Drama , 32 (11):159-162. King T (2018) Streaming from stage to screen: its place in the cultural marketplace and the implication for UK arts policy. International Journal of Cultural Policy 24(02): 220-235. https://doi.org/10.1080/10286632.2016.1150270 Lan Y (2023) A study on the musical artistic conception and charm of the classical poetry “Everlasting longing for each other” by the Chinese poet Li Bai. Voprosy Istorii 2 (2): 176-183. http://dx.doi.org/10.31166/VoprosyIstorii202302Statyi63 Li X (2019) The meaning and value of VR in the dissemination of traditional culture-Taking ethnic dance drama as an example. Media (12):82-83. Lu Y (2022) Research on the communicative power of Chinese dance in the context of digitization. Chinese J of Radio and Telev 25 (11):58-61. Mantzou P (2023) Bitsikas, Xenofon; Floros, Anastasios. Enriching Cultural Heritage through the Integration of Art and Digital Technologies. Social Sciences 12(11):1-18 https://doi.org/10.3390/socsci12110594 Meng X (2017) Research on the protection and innovation of folk dance under motion capture technology. Guizhou Ethnic Studies 38(06):158-161. DOI:10.13965/j.cnki.gzmzyj10026959.2017.06.037 Neo David H J (2020) Tan Sooi Beng (Ed). Eclectic cultures for all: the development of the Peranakan performing, visual and material arts in Penang. Univ. of Malaya (1). http://dx.doi.org/10.22452/SARE.VOL57NO1.18. Tian T (2020) The choreographic principles and body strategies of digital interactive dance. J of Beijing Dance Academy 34 (06):98-105 Wang B (2022) Body and posture: The cross-media performance of the dance “Tang Palace Banquet.” J of Beijing Dance Academy 36 (03):13-19 Wang C, Xie X (2020) The design and realization of the integration of immersive virtual reality into the theatrical stage-Taking Harbin Institute of Technology’s robot performance digital small theater as an example. Sichuan Drama 33 (02):16-19 Wang Y (2022) Dancing into painting: A cross-media exploration from “A Thousand Miles of Country and Mountains” to “Only This Green”. J of Beijing Dance Academy , 36 (05):8-13 Yu Y (2015) A new interpretation of “interactive dance” works under new media technology. J of Beijing Dance Academy 23 (S1):42-47 Yang D (2023) The aesthetic empowerment of technological elements in the dance “Only Green Color.” Southern Cultural Forum 28 (04):174-176 Zhang X, Zhao S (2021) Research on cross-cultural communication of Chinese dance Images-taking “Tang Palace Banquet” as an example. Media (11):65-68. Zhu Y (2019) Research on the digital protection of Tujia Waving Dance. J of Beijing Dance Academy 33 (01):79-84. Zhukova, O et al (2023) Digital technologies for introducing Gamification into the education system in the context of the development of industry 4.0. Ingenierie des Systemes d'Information 28(01):141-147. https://doi.org/10.18280/isi.280114 Additional Declarations No competing interests reported. Cite Share Download PDF Status: Posted Version 1 posted You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. As a division of Research Square Company, we’re committed to making research communication faster, fairer, and more useful. We do this by developing innovative software and high quality services for the global research community. Our growing team is made up of researchers and industry professionals working together to solve the most critical problems facing scientific publishing. Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-7369628","acceptedTermsAndConditions":true,"allowDirectSubmit":true,"archivedVersions":[],"articleType":"Article","associatedPublications":[],"authors":[{"id":526271359,"identity":"5ca1ed38-7455-49b8-b2c1-1aa194570e69","order_by":0,"name":"Bin Lu","email":"","orcid":"","institution":"Luoyang Normal University","correspondingAuthor":false,"prefix":"","firstName":"Bin","middleName":"","lastName":"Lu","suffix":""},{"id":526271360,"identity":"0442e3df-11b1-4f2f-8a45-8e32e88acc60","order_by":1,"name":"Jianzhong Xu","email":"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAA20lEQVRIiWNgGAWjYBACxmYQ0QDlfTCwsSNNC+OMgrRkIq2CamHm+XAIbiNOwNzO/Ozhzx02efIOPGbSNgYHmBnYDx/dgN9hbOYGkmfSig0PsKVJ5xjc4WPgSUu7gV8Lg5mEYdvhxI0NzMeAWp4xM0jwmBHQwv5NIhGshbFN2sLgMGMDYS08ZhIHgVrmMwBtYSBSS5lkY1ta4gYGtmTLHoO0ZDZCfjHsP75N8mebTeL8Bh7DGz/+2Njxsx8+hl9LA5RhcP8BhMGGTzkIyMMZDXhUjYJRMApGwcgGABVIRhkTHgrJAAAAAElFTkSuQmCC","orcid":"","institution":"Xi'an Fanyi University","correspondingAuthor":true,"prefix":"","firstName":"Jianzhong","middleName":"","lastName":"Xu","suffix":""}],"badges":[],"createdAt":"2025-08-14 04:23:20","currentVersionCode":1,"declarations":"","doi":"10.21203/rs.3.rs-7369628/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-7369628/v1","draftVersion":[],"editorialEvents":[],"editorialNote":"","failedWorkflow":false,"files":[{"id":93149598,"identity":"e4702aa3-47f5-4122-8c7f-335fd786b504","added_by":"auto","created_at":"2025-10-09 14:27:10","extension":"docx","order_by":0,"title":"","display":"","copyAsset":false,"role":"acdc-reference","size":68224,"visible":true,"origin":"","legend":"","description":"","filename":"20250912ACaseStudyontheEnhancementofExtendedRealityXRTechnologyinDigitalStageProductionforChineseTraditionalPoetryInspiredDanceArtsRevised.docx","url":"https://assets-eu.researchsquare.com/files/rs-7369628/v1/2e2d1f290f374828e5dd38da.docx"},{"id":93149921,"identity":"14bd5391-a9fd-4cfa-8f83-ccebea81b4da","added_by":"auto","created_at":"2025-10-09 14:35:10","extension":"json","order_by":1,"title":"","display":"","copyAsset":false,"role":"acdc-reference","size":4725,"visible":true,"origin":"","legend":"","description":"","filename":"5ef4317e1bf04d069277afa9070660b9.json","url":"https://assets-eu.researchsquare.com/files/rs-7369628/v1/8741b0188f2e11789cc12f1b.json"},{"id":93149922,"identity":"e9e2fa5c-a7f7-4876-94ad-9bf961b9ceed","added_by":"auto","created_at":"2025-10-09 14:35:10","extension":"xml","order_by":2,"title":"","display":"","copyAsset":false,"role":"acdc-reference","size":102174,"visible":true,"origin":"","legend":"","description":"","filename":"5ef4317e1bf04d069277afa9070660b91enriched.xml","url":"https://assets-eu.researchsquare.com/files/rs-7369628/v1/54bd93460774df63ce45d4f6.xml"},{"id":93149602,"identity":"8c92264d-6dd6-44ab-845c-151a1b9afad5","added_by":"auto","created_at":"2025-10-09 14:27:10","extension":"xml","order_by":3,"title":"","display":"","copyAsset":false,"role":"acdc-reference","size":100719,"visible":true,"origin":"","legend":"","description":"","filename":"5ef4317e1bf04d069277afa9070660b91structuring.xml","url":"https://assets-eu.researchsquare.com/files/rs-7369628/v1/fc43802c60aeba45314f340a.xml"},{"id":93149600,"identity":"63b48748-c128-448c-a1fa-11a28ab91c3f","added_by":"auto","created_at":"2025-10-09 14:27:10","extension":"html","order_by":4,"title":"","display":"","copyAsset":false,"role":"acdc-reference","size":107746,"visible":true,"origin":"","legend":"","description":"","filename":"earlyproof.html","url":"https://assets-eu.researchsquare.com/files/rs-7369628/v1/9931a5f178b048310ac4e23e.html"},{"id":98777405,"identity":"8371e395-fb44-448a-8718-e65e73b8b32a","added_by":"auto","created_at":"2025-12-22 12:26:52","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":1482198,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-7369628/v1/dd0ddb4e-6757-4856-ad40-2e20356786ee.pdf"}],"financialInterests":"No competing interests reported.","formattedTitle":"A Case Study on the Enhancement of Extended Reality Technology in Digital Stage Production for Chinese Traditional Poetry-Inspired Dance Arts","fulltext":[{"header":"Introduction","content":"\u003cp\u003eWith the advancement of technology, the application of digital media in the field of art has experienced rapid growth. Digital media technology offers advantages such as scene substitution, virtual reality, enhanced audiovisual experiences, and high cost-effectiveness. As a result, it has gained widespread adoption among contemporary artists and cultural creators, particularly in relation to future market development. The integration of digital media technology with stage art is further supported by the effective application of montage techniques from \u0026ldquo;Audiovisual Language\u0026rdquo; within the domain of film and television communication. Through the integration of XR stage design, digital lighting, and electronic special effects music, a harmonious synthesis of \u0026ldquo;stage cinematization\u0026rdquo; and \u0026ldquo;performance modeling\u0026rdquo; has been achieved. This integration also enables immersive interaction and active participation between performers and audiences within the XR-enhanced stage environment. The application of digital media art that aligns with aesthetic principles has significantly enhanced the artistic value of XR-enhanced stage design and contributed to the dissemination and evolution of contemporary artistic trends. However, challenges remain in this developmental process. Several contradictions have emerged across different dimensions. First, in some cases, the digital form overshadows the cultural content, drawing criticism from art experts and cultural critics. Second, digital technologies are sometimes unable to fully realize the intended design or presentation goals\u0026mdash;particularly in traditional art performances that incorporate digital stage techniques\u0026mdash;where the effectiveness of human-computer interaction fails to meet audience aesthetic expectations, thereby affecting their audiovisual perception. Third, there is potential interference caused by audience participation, which may disrupt the artistic performance of the performers.\u003c/p\u003e\u003cp\u003eTherefore, it is essential to develop a systematic understanding of the characteristics of digital media art and its application effectiveness in the presentation of traditional arts, in order to support future applications within the field of traditional artistic expression. Experimental arts teaching cases can offer valuable insights and propose innovative strategies for the upgrading and integration of digital technologies in traditional arts, contributing to the formulation of precise digital discourse concerning artistic performance structure, internal cultural attributes, and digital stage art design forms\u0026mdash;ultimately enhancing the emotional expression of performers and the appreciation experience of audiences. This study selects the renowned Chinese traditional poetry dance \u0026ldquo;Xi He Jian Qi\u0026rdquo; (also known as \u0026ldquo;The Sword of West River\u0026rdquo;), which integrates poetry, calligraphy, martial arts, drawing, and dance, as the core subject within an arts design teaching program. An experimental research approach is adopted to explore innovations in digital stage art design education. The research involves designers and educators as experimenters, with third-year arts major students participating as audience-experience subjects. The comparative sampling includes two forms of traditional poetry dance: one enhanced with XR technology and the other represented through conventional design approaches. This comparison aims to identify the effectiveness of digital stage art design in promoting the inheritance of Chinese traditional arts and advancing teaching innovation.\u003c/p\u003e\n\u003ch3\u003eResearch Aims\u003c/h3\u003e\n\u003cp\u003eIn order to advance arts education through the integration of digital stage technology within traditional digital media and to identify appropriate strategies for aligning with the aesthetic standards of the emerging digital drama industry, this study aims to incorporate the updated spatial perception and spatial experience from real-time environmental art curricula into digital stage arts education. It further seeks to integrate the spatial thinking inherent to environmental art disciplines with the enhancement provided by digital stage technologies, and to reapply this synthesis in the development of stage art education models for future professional training and market-oriented applications. Both fields utilize space as a central medium, encompassing both physical and psychological dimensions. The study involves structural design of space, visual imagery, the integration of time and space within artistic activities, the interplay between space and light or shadow, the contrast of space and sound, as well as a series of conceptual frameworks related to shared spatial experiences. By connecting stage art technology design with environmental art thinking through the medium of new stage media, the creative understanding of stage art is redefined, leading to the development of a novel mode of artistic creation.\u003c/p\u003e\u003cdiv id=\"Sec3\" class=\"Section2\"\u003e\u003ch2\u003eResearch Questions\u003c/h2\u003e\u003cp\u003e(1) What are the key characteristics of spatial structure, visual expression, cultural integration approaches, and human-computer interaction in the application and XR enhancement of traditional cultural dance arts?\u003c/p\u003e\u003cp\u003e(2) What are the perceptions and attitudes of arts students as an audience toward XR-integrated digital stage applications and the associated viewing experiences?\u003c/p\u003e\u003c/div\u003e\n\u003ch3\u003eResearch Methods\u003c/h3\u003e\n\u003cp\u003eThis study employs a theoretical research methodology to compare traditional artistic presentation and classical poetry dance arts with their contemporary interpretations through digital stage technology. It analyzes potential design strategies for a new model of arts education enhanced by XR within the context of digital stage technology, aiming to identify the pedagogical outcomes and effectiveness of this innovative experimental approach in digital arts programs.\u003c/p\u003e\u003cp\u003e\u003cem\u003eSurvey Research Method\u003c/em\u003e\u003c/p\u003e\u003cp\u003eThis method involves conducting survey research to evaluate the effectiveness of digital stage applications in traditional poetry-inspired dance arts within teaching design. It aims to examine varying attitudes toward the integration of traditional cultural art design with the enhancement of application competencies among arts major students, thereby providing real-time and reliable data to support the experimental study.\u003c/p\u003e\u003cp\u003e\u003cem\u003eExperimental Research Method\u003c/em\u003e\u003c/p\u003e\u003cp\u003eThis method entails implementing XR-enhanced digital stage designs and testing the immersive audience experiences of student participants through typical cases of traditional poetry-inspired dance performances. It includes analyzing the outcomes of the experimental research to offer reference insights for future applications of digital stage arts and strategies for quality improvement in market-oriented implementations.\u003c/p\u003e"},{"header":"Literature Review","content":"\u003cp\u003eThe application of digital stage presentation and technology in traditional poetry-inspired dance arts has introduced novel innovations and expressive possibilities to Chinese traditional artistic culture. Through the integration of digital stage technology, dancers and choreographers are able to utilize digital tools to design movements, visual effects, and immersive experiences that were previously unattainable, thereby achieving a higher level of aesthetic expression and audience engagement. The framework of this experimental research is built upon recent scholarly reviews of digital stage applications in China, focusing on the following three aspects.\u003c/p\u003e\u003cp\u003e\u003cb\u003eApplication of Virtual Reality and Augmented Reality in Traditional Dance Arts\u003c/b\u003e\u003c/p\u003e\u003cp\u003eThe first category of research focuses on how virtual reality (VR) and augmented reality (AR) technologies can be utilized to expand traditional performance formats and enhance audience experiences within the realm of classical stage aesthetics. This includes innovations such as the creation of virtual stages and the incorporation of interactive elements.\u003c/p\u003e\u003cp\u003eBy comparing \u003cem\u003eThe Banquet at Tang Palace\u003c/em\u003e with the stage version of \u003cem\u003eTang Terracotta Warriors\u003c/em\u003e, Wang Bin (2022) explored the cross-media phenomenon in the choreography of \u0026ldquo;The Banquet at Tang Palace.\u0026rdquo; The performance integrates AR, 5G, and other advanced technologies to present architectural elements, paintings, cultural relics, and more, seamlessly blending them with the movements of the dancers. Wang Chen \u0026amp; Xie Xin (2020) developed and implemented the VR-CAVE stage theoretical model, achieving favorable outcomes. The study highlighted that the integration of immersive virtual reality into stage design contributes to improved spatial utilization and enhanced audience engagement. Fu Jianqin (2019) analyzed the application of LED technology, audio-visual effects, and virtual reality in dance aesthetics through case studies. She concluded that these multimedia technologies significantly enhance the artistic expression of stage performances, playing a crucial role in amplifying the visual impact and aesthetic appeal of traditional dance.\u003c/p\u003e\u003cp\u003e\u003cb\u003eMR Effects and Projection Mapping\u003c/b\u003e\u003c/p\u003e\u003cp\u003eThe second category of research focuses on the application of mixed reality (MR) effects and projection mapping technology to simulate clone camera movements, create visually striking dance performances, and transform stage design and visual experiences.\u003c/p\u003e\u003cp\u003eYang Dongyan (2023) argues that in the dance-poem drama \u003cem\u003eThe Journey of a Legendary Landscape Painting\u003c/em\u003e, the integration of 3D holographic projection and live stage performance generates a compelling audiovisual experience. Furthermore, 360-degree holographic projection enables interactive linkage between performers and the audience. Wang Yinan (2022) analyzed the visual effects employed in the stage production of \u003cem\u003ePoetic Dance: The Journey of a Legendary Landscape Painting\u003c/em\u003e, including dynamic concentric rings, deep and winding three-dimensional scrolls, and immersive visual illusions created through virtual reality. These elements provide the audience with a novel and multi-layered sensory experience. Deng Yachuan (2020) presented numerous case studies to illustrate how holographic projection technology enhances the audience\u0026rsquo;s perception of spatial depth on stage. The study highlights that the integration of contemporary dance with holographic technology enables the realization of mirror-like reality through virtual reconstruction.\u003c/p\u003e\u003cp\u003e\u003cb\u003eInteractivity and Participation\u003c/b\u003e\u003c/p\u003e\u003cp\u003eThe third category of research focuses on how digital technologies enable traditional dance to engage with audiences and explores strategies to enhance audience participation through digital media in preparation for future advancements in XR technology.\u003c/p\u003e\u003cp\u003eBased on the interactive possibilities introduced by technological developments in digital interactive dance, Tian Tian (\u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2020\u003c/span\u003e) analyzed its interaction design principles. Hepointed out that the interactive dance model, which involves creating artistic imagery through motion capture technology and real-time simulation, and enabling interaction via coding, can effectively support, stimulate, and enhance live interactive artistic performances. Yu Youyou (2015) classified the innovative forms of \"interactive dance\" under new media technology according to different interaction modes and the functional application of media. These include patch-based interactive dance, hybrid interactive dance, and dependency-based interactive dance, which were elaborated through case studies. Using the variety show \u0026ldquo;2060\u0026rdquo; as an example, Dong Yuzhi \u0026amp; Hong Xibei (2022) highlighted that the program created an immersive participatory space for audiences through media platforms, attractive engagement strategies, and direct invitations to participate, thereby enhancing audience involvement and communication enthusiasm. Polyxeni Mantzou (\u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e2023\u003c/span\u003e) enriched cultural heritage via the integration of art and digital technologies.\u003c/p\u003e\u003cp\u003eOther scholars have explored related topics such as stage Wushu as a performing art (Dong, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2024\u003c/span\u003e), the transition from stage to screen (King, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e2018\u003c/span\u003e), the musical artistic conception and aesthetic appeal of classical poetry (Lan, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2023\u003c/span\u003e), the role of virtual reality in promoting ethnic dance drama (Li, \u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2019\u003c/span\u003e), the communicative potential of Chinese dance within a digital context (Yu, 2022), the preservation and innovation of folk dance through motion capture technology (Meng, \u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e2017\u003c/span\u003e), the Peranakan Performing, Visual, and Material Arts (Patricia Matusky, 2020), the cross-cultural communication of Chinese dance imagery (Zhang \u0026amp; Zhao, \u003cspan citationid=\"CR22\" class=\"CitationRef\"\u003e2021\u003c/span\u003e), the application of digital technologies to introduce gamification into education under Industry 4.0 (Zhukova et al., \u003cspan citationid=\"CR24\" class=\"CitationRef\"\u003e2023\u003c/span\u003e), the digital preservation of the Tujia Waving Dance (Zhu, \u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e2019\u003c/span\u003e), and eclectic cultures for all: the development of the Peranakan performing, visual and material arts in Penang (Neo David \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e2020\u003c/span\u003e).\u003c/p\u003e"},{"header":"Material and methods","content":"\u003cp\u003eThe application of digital technologies such as multimedia video scenes, digital lighting, 3D-printed props, digitally printed costume patterns, and audience-oriented new equipment is no longer novel. The integration and utilization of digital media on stage have become increasingly prevalent due to advancements in digital media art design\u0026mdash;often referred to as digital theater art. This form of art combines new digital elements with traditional stage components and theatrical performances, enhancing narrative delivery. It has emerged as a crucial technical approach in contemporary stage art creation, prompting significant transformations in the conceptual frameworks, models, and forms of stage design, and introducing new aesthetic expressions in theatrical presentation.\u003c/p\u003e\u003cp\u003eThis artistic approach constructs a performance environment that leverages digital media and relies on interactive art models to engage live performances, reconstruct theatrical space, and generate immersive experiences. As a result, it establishes a new type of dramatic narrative relationship tailored to diverse theatrical environments. The fusion of the physical and the virtual represents a systematic transformation in the concepts and methodologies of stage art performance.\u003c/p\u003e\u003cp\u003eIn this context, \u0026ldquo;physical\u0026rdquo; refers to the tangible elements and content of traditional stage art, such as scenery, lighting, costumes, and props. \u0026ldquo;Virtual,\u0026rdquo; on the other hand, does not pertain to abstract planning or control strategies, but rather to the digital technologies that support stage equipment and play a key role in conveying emotional and atmospheric effects on stage.\u003c/p\u003e\u003cp\u003eThis experimental study focuses on the application and design of XR technology in digital stage art by exploring three-dimensional spatial design that delivers interactive aesthetic experiences to the audience and introduces new modes of aesthetic expression through spatial symbolism. Through a case study involving a renowned Chinese poetry dance and the experimental design of its digital stage adaptation, the research evaluates the experiential effects among an audience of arts students. The findings aim to provide a reference framework for future applications of digital stage technologies, the development of artistic competencies among arts students, and potential pathways for market-oriented implementation.\u003c/p\u003e\n\u003ch3\u003eThe Description of Experimental Research\u003c/h3\u003e\n\u003cp\u003eIn this experimental research, virtual reality within the interactive scene is expanded through the integration of digital media technology, mobile device-based experimental design, and tactile interface equipment, specifically tailored for arts student participants. The experience progresses from the reflective display space of the mirrored stage to tangible reality devices, and further extends to virtual input and output methods. Stage art leverages XR technology to accurately identify action objects, position virtual imagery, and analyze suitable digital elements based on the preferences and requirements of the target audience. XR-enhanced technology enables the construction of performance displays across different spatial zones, facilitates content output within these defined spaces, collects audience feedback through specialized equipment, and supports subsequent modifications and re-creative iterations.\u003c/p\u003e\u003cdiv id=\"Sec8\" class=\"Section2\"\u003e\u003ch2\u003eResearch Subjects\u003c/h2\u003e\u003cp\u003eThe subject of this experimental research is to evaluate the application effectiveness of digital stage utilization in the performance of \u0026ldquo;Xi He Jian Qi\u0026rdquo; and to assess the user experiences of arts students and teachers. Table\u0026nbsp;\u003cspan refid=\"Tab1\" class=\"InternalRef\"\u003e1\u003c/span\u003e provides a detailed overview of the relevant subject information.\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab1\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 1\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eDigital design characteristics of the Chinese traditional dance\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"4\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNumber\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eTeaching Items\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eDigital Stage Technology Design\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSampling Contents\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eTraditional dance with digital stage design\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eChinese traditional dancing, martial arts, calligraphy and historical atmosphere\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u0026ldquo;Xi He Jian Qi\u0026rdquo; or \u0026ldquo;The Sword of West River\u0026rdquo;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eTraditional dance art category\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eChinese traditional dance art category\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eChinese classical dancing based on Chinese famous poetry\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eTraditional dance performance design mode\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eTraditional dance performance design mode with digital stage technology design\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eBy using three-dimensional technology, action tracking, real-time interaction means.\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eCore arts expression on traditional dance performance for digital design mode\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eChinese sword dancing on tehe integration traditional performance with digital technology stage mode\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe combination of literary nature and Chinese aesthetic interaction, expressed by Gongsun aunt \u0026ldquo;sword dancing dance\u0026rdquo;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDigital stage characteristics\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eChinese Traditional dance, Chinese aesthetic arts forms, and digital stage characteristics\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eBy using a square closed space, the whole reconstructed picture revolves around the digital image and the landscape image\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e6\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eThe implication of traditional culture (classical dance) and reality (modern dance)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe origin of Chinese famous poetry with traditional culture (classical dance) and reality (modern dance)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe work takes the title of \u0026ldquo;Aunt Gongsun,\u0026rdquo; a dancer in the Tang Dynasty, and retains the poem image in the poet Du Fu\u0026rsquo;s \u0026ldquo;Watching Aunt Gongsun\u0026rsquo;s Disciple Sword Dance. \u0026rdquo;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e7\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eThe core arts expression by digital technology stage design\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eTraditional dance incorporates the combination between calligraphy cultural design and digital technology arts design\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe cursive writing and the prosperity of the Tang Dynasty more sense of science and technology.\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e8\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eVirtual dance environment\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eWhether to use the virtual dance environment\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eyes\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\n\u003ch3\u003eResearch Objects\u003c/h3\u003e\n\u003cp\u003eThe subject of this experimental research is \u0026ldquo;Xi He Jian Qi\u0026rdquo;, a traditional dance inspired by the renowned Tang Dynasty poet Du Fu\u0026rsquo;s famous poem \u0026ldquo;Guan Gongsun\u0026rsquo;s Disciple Sword Dance.\u0026rdquo; Du Fu, one of China\u0026rsquo;s greatest classical poets, composed this work with a preface written in a prose-poetic style. The poem reflects on the poet\u0026rsquo;s childhood memory of witnessing the extraordinary sword dance performed by the renowned dancer Aunt Gongsun, and his subsequent emotional response upon watching her disciple, Li Twelve Niang, perform the same dance in later years.\u003c/p\u003e\u003cp\u003eThe poem evokes both past and present: the memory of the master\u0026rsquo;s performance and the reality of the disciple\u0026rsquo;s rendition. It also highlights an artistic resonance between the sword dance and the development of calligraphic art by Zhang Xu, another celebrated Chinese calligrapher who was inspired by the rhythm and motion of sword dancing. The overall tone of the poem is grand, solemn, and imbued with a sense of melancholy and historical reflection. The imagery of the sword evokes sorrow for the lost glory of the past, expressing the poet\u0026rsquo;s deep concern for the present and lamenting the decline of the dynasty and the social conditions of his time. Structurally, the poem is based on the Yongli era, yet it reflects back on the reign of the founding emperor, conveying the poet\u0026rsquo;s nostalgia for a golden age and mourning the current state of affairs. The language is rich yet restrained, and the rhythm is complex and emotionally nuanced.\u003c/p\u003e\u003cp\u003eThe audience interaction mode facilitated by digital stage technology in this performance is presented in Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e.\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab2\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 2\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eAudience interaction mode of traditional dance digital stage\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"4\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNumber\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eItems\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eContents\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eTools\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDigital stage type\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eHypertime stereo picture\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e(1) Scene transient with VR/MR;\u003c/p\u003e\u003cp\u003e(2) Immersive projection\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDigital stage audience interaction mode\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eIn non-performance time, the audience can walk on the stage to experience the interactive effect\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e(1) Motion capture and virtual avatars\u003c/p\u003e\u003cp\u003e(2) Stage space scale transformation\u003c/p\u003e\u003cp\u003e(3) Virtual-real fusion stunt\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eForm of audience interaction\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eMen, women, children and children can dance freely on the interactive stage\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e(1) Special projection system for audience\u003c/p\u003e\u003cp\u003e(2) Remote performance and digital clone\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eAudience interaction effect\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe audience became the performers, after the exhibition, recorded the wonderful dance of sentient beings\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e(1) Immersive experience\u003c/p\u003e\u003cp\u003e(2) Interactive experience\u003c/p\u003e\u003cp\u003e(3) Generative experience\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDigital\u003c/p\u003e\u003cp\u003estage audience interaction time\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eIn addition to the performance time, the audience also becomes the dancers in the space, and records the wonderful dance of all living beings.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e(1) Interactive positioning and tracking\u003c/p\u003e\u003cp\u003e(2) Special effects production\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs shown in Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e, the experimental teaching within digital arts design programs involves a comparative analysis between the enhanced effects achieved through XR technology and those of traditional arts design approaches, with a focus on participants\u0026rsquo; level of engagement and experiential depth. The integration of digital technology improvements is demonstrated through the following experimental presentation modes.\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab3\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 3\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eDigital improvement of experimental design mode\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"8\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c7\" colnum=\"7\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c8\" colnum=\"8\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNumber\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDigital Interaction on Sward Gestures\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eScreening\u003c/p\u003e\u003cp\u003eTouching Numbers\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eDigital Drumbeats\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003eBackground close-up\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c6\"\u003e\u003cp\u003eDigital\u003c/p\u003e\u003cp\u003eCalligraphy\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c7\"\u003e\u003cp\u003eHolosystem projection\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c8\"\u003e\u003cp\u003eAudience interaction\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eSward lower-thrust with a knee lifted(提剑上刺)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eLess than 5 jumps\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSmaller beats\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eClose-up of martial arts moves\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003ePrevious screen\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003eAudience digital lights\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eSward Hack with a House Stance\u003c/p\u003e\u003cp\u003e(弓步劈剑)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eMore than 10 jumps\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eBigger\u003c/p\u003e\u003cp\u003ebeats\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eClose-up of calligraphy\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e360 degree\u003c/p\u003e\u003cp\u003escreen\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003eAudience digital drums\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eSward Thrust Horizontally with a leaping Step\u003c/p\u003e\u003cp\u003e(跳步平刺)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eMore than 10 jumps\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eBigger\u003c/p\u003e\u003cp\u003ebeats\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eZoomed-in close-up of dance moves\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e360 degree\u003c/p\u003e\u003cp\u003escreen\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003eAudience digital lights\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eSward Downward Parry and Point\u003c/p\u003e\u003cp\u003e(持剑前点)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eLess than 5 jumps\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSmaller beats\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eClose-up of Chinese aesthetics\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003ePrevious screen\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003eAudience digital lights\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eSward Slice with a Bow Stance\u003c/p\u003e\u003cp\u003e(弓步削剑)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eMore than 10 jumps\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eBigger\u003c/p\u003e\u003cp\u003ebeats\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eClose-up shot of calligraphy, dance and martial arts integrated into one\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e360 degree\u003c/p\u003e\u003cp\u003escreen\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003eAudience digital lights\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs indicated in Table\u0026nbsp;\u003cspan refid=\"Tab3\" class=\"InternalRef\"\u003e3\u003c/span\u003e, the audience is expected to collaborate with the performers through the integration of comprehensive digital arts design. When the digital stage system becomes operational, the digital remote-control unit is activated, allowing the audience the option and autonomy to press buttons to control lighting or sound effects, such as drums, to interact with the dancers\u0026mdash;or not. This interactive feature significantly enhances the audience\u0026rsquo;s experiential engagement, contributing to an improved digital environment and overall participatory experience. This experiment focuses on assessing arts students\u0026rsquo; perceptions of digital arts design, particularly in relation to the emotional responses of different audience participants to the newly integrated digital enhancements. The goal is to increase their willingness to engage with digital stage design courses and to develop their competence in digital arts design.\u003c/p\u003e\n\u003ch3\u003eResearch Participants\u003c/h3\u003e\n\u003cp\u003eThe research participants of this study consist of third-year traditional dance students from the School of Arts at a Henan University, China. The selected sample includes students who are currently enrolled in digital stage arts courses and have, after completing two to four semesters of dance training, developed a foundational understanding of integrating new digital design techniques with traditional dance art forms. Given their level of theoretical and practical engagement with dance culture presentation design, third-year arts students are better positioned to dedicate time and effort to hands-on digital stage design projects. The participant group comprises a total of 59 students, including 29 male and 30 female students, with an age range of 19 to 21 years. Therefore, this experimental study on the integration of digital technology in traditional dance performance aims to explore effective strategies for utilizing digital stages in traditional dance design and presentation.\u003c/p\u003e\u003cdiv id=\"Sec11\" class=\"Section2\"\u003e\u003ch2\u003eThe Description of Experimental Design on XR Technology Enhancement\u003c/h2\u003e\u003cp\u003eThis study conducts a comparative analysis between traditional arts design and digital stage design enhanced by new digital technologies. The attitude assessment aims to measure the differences in experiential perception and learning willingness among arts students regarding the use of digital stages and related courses. This process encourages students to engage in deeper reflection on their future arts design practices through practical integration, as both creators and audience participants. The experiential responses of two groups of arts participants are documented by the researcher, and audience experiences are evaluated through tests and interviews following the implementation of the digital stage teaching experiments.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec12\" class=\"Section2\"\u003e\u003ch2\u003eCreating a Space for Dialogue: Forming Cross-cultural Exchanges\u003c/h2\u003e\u003cp\u003eIn this section, the experimental research aims to establish a successful model of \u0026ldquo;cross-cultural dialogue,\u0026rdquo; which encompasses the interaction between dance and calligraphy, antiquity and modernity, culture and art, space and time, as well as art and digital technology. This form of dialogue facilitates a deeper understanding of the aesthetic functions within digital arts stage design courses. It also serves to provide guiding principles for advancing ethnic cultural exchanges through the diverse manifestations of art and technology. The enhancement methods of this cross-cultural dialogue will be demonstrated through the integration of background close-ups, lighting effects, and drum sound design.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec13\" class=\"Section2\"\u003e\u003ch2\u003eBuilding a Communication Platform: Forming an Artistic Spectacle Characteristics of digital vision platforms\u003c/h2\u003e\u003cp\u003eIn this section, the experimental research aims to emphasize the spiritual expression of the program\u0026rsquo;s subject within the interactive activity. Specifically, this experimental teaching approach seeks to create artistic spectacle characteristics through digital visual platforms that facilitate both artistic and cultural interaction for audience engagement. The participants\u0026rsquo; activities involving digital drums and lighting systems enable the audience to fully experience the emotional and aesthetic resonance of the performance. The enhancement methods of this artistic spectacle characteristic will be demonstrated using a 360-degree screen, Holosystem projection, and audience-controlled digital lighting systems\u0026mdash;each equipped with individual switches\u0026mdash;where more synchronized audience actions result in amplified close-up visual effects.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec14\" class=\"Section2\"\u003e\u003ch2\u003eDialectical Value Orientation: Forming Consciousness Orientation\u003c/h2\u003e\u003cp\u003eIn this section, the experimental research aims to convey the positive values embedded in traditional arts aesthetics and the cultivation process associated with them. It also seeks to demonstrate a distinctive Chinese artistic consciousness through diverse expressions of traditional culture. The integration of new digital technologies and sound effects enhances the audience\u0026rsquo;s immersive experience, deepening their emotional and aesthetic engagement with traditional Chinese sword performance and the harmonious fusion of traditional art forms. This constitutes a primary objective of the study: to facilitate students\u0026rsquo; acceptance of innovative art design approaches, and to strengthen their artistic presentation competencies and digital skills for future professional development.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec15\" class=\"Section2\"\u003e\u003ch2\u003eData Analysis and Results Discussion\u003c/h2\u003e\u003cp\u003eThe research employed the SPSS tool to analyze the data, ensuring the reliability and validity of the questionnaires both before and after the implementation of the application activity.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec16\" class=\"Section2\"\u003e\u003ch2\u003eReliablity and validity analysis of questionnaire\u003c/h2\u003e\u003cp\u003eThis section presents the reliability and validity of the questionnaire designed to assess arts students\u0026rsquo; attitudes toward the application of digital stages in traditional dance design. The data were analyzed using SPSS 26.0, with the results presented as follows:\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab4\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 4\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eReliability Analysis of questionnaire\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"5\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colspan=\"2\" nameend=\"c3\" namest=\"c2\"\u003e\u003cp\u003eCronbach\u0026rsquo;s Alpha\u003csup\u003eα\u003c/sup\u003e\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003eN of Items\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eQuestionnaire\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e.737\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colspan=\"2\" nameend=\"c4\" namest=\"c3\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e15\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab5\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 5\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eKMO and Bartlett\u0026rsquo;s Test of Questionnaire\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"4\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colspan=\"4\" nameend=\"c4\" namest=\"c1\"\u003e\u003cp\u003ePost-questionnaire\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"3\" nameend=\"c3\" namest=\"c1\"\u003e\u003cp\u003eKaiser-Meyer-Olkin Measure of Sampling Adequacy.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e.831\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"2\" nameend=\"c2\" namest=\"c1\"\u003e\u003cp\u003eBartlett\u0026rsquo;s Test of Sphericity\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eApprox. Chi-Square\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e528.204\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003edf\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e91\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eSig.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e.000\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs shown in Table\u0026nbsp;\u003cspan refid=\"Tab4\" class=\"InternalRef\"\u003e4\u003c/span\u003e, the Cronbach\u0026rsquo;s alpha coefficient of the initial questionnaire is 0.737, which is above the threshold of 0.6, indicating that the questionnaire demonstrates acceptable internal consistency and reliability. The experimental sampling is therefore considered reliable. According to Table\u0026nbsp;\u003cspan refid=\"Tab5\" class=\"InternalRef\"\u003e5\u003c/span\u003e, the KMO measure of sampling adequacy obtained through SPSS analysis of the application data and student audience experience is 0.831, which exceeds the minimum acceptable value of 0.5. The significance value (p-value) for Bartlett\u0026rsquo;s Test of Sphericity is 0.000, which is below 0.05, suggesting a strong intercorrelation among variables and confirming good structural validity. Additionally, a correlational analysis was conducted.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec17\" class=\"Section2\"\u003e\u003ch2\u003eData collection and analysis of questionnaire\u003c/h2\u003e\u003cp\u003eFollowing the organization of the questionnaire data, the study conducts multi-level analyses of digital stage usage in traditional dance design:\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec18\" class=\"Section2\"\u003e\u003ch2\u003eStudent audience\u0026rsquo; satisfied degree of new traditional arts design\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab6\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 6\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eStudent audience\u0026rsquo; satisfied degree of audience interaction experience\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"2\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eDegree\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003ePercent\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eVery satisfied\u003c/p\u003e\u003cp\u003eSatisfied\u003c/p\u003e\u003cp\u003eNot sure\u003c/p\u003e\u003cp\u003eDissatisfied\u003c/p\u003e\u003cp\u003eVery dissatisfied\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e66.37%\u003c/p\u003e\u003cp\u003e22.89%\u003c/p\u003e\u003cp\u003e10.46%\u003c/p\u003e\u003cp\u003e0.28%\u003c/p\u003e\u003cp\u003e0\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs shown in Table\u0026nbsp;\u003cspan refid=\"Tab6\" class=\"InternalRef\"\u003e6\u003c/span\u003e, students\u0026rsquo; perceptions and audience experiences regarding the experimental design of digital stage applications indicate a high level of agreement. It was found that the majority of students believe that the integration of digital technology with Chinese traditional dance arts, calligraphy arts, and martial arts significantly enhances the presentation of traditional Chinese aesthetics. However, most students reported difficulties in collaborating with digital stages, as they require more instructional programs focused on digital technology interaction practices and holographic projection integration courses. Students indicated that they would be more likely to engage with digital stage technologies if such educational programs were provided by their instructors. This suggests that art students require greater guidance in understanding the diverse and integrative forms of Chinese artistic aesthetics. This emerging need presents a significant challenge for the professional development of art educators in the domain of Chinese traditional arts integration.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec19\" class=\"Section2\"\u003e\u003ch2\u003eStudent audience\u0026rsquo;s interaction frequency during the arts show\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab7\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 7\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eStudent audience\u0026rsquo;s interaction frequency during the arts show\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"2\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eFrequency\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003ePercent\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eVery often\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e13.46%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eSometimes\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e39.74%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eSeldom\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e33.97%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNever\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e12.18%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs presented in Table\u0026nbsp;\u003cspan refid=\"Tab7\" class=\"InternalRef\"\u003e7\u003c/span\u003e, students reported having limited opportunities to engage in digital stage application courses, except when participating in their instructors\u0026rsquo; dance programs or performances. Additionally, they have few chances to incorporate personal reflection and digital design into their own traditional dance practice. While some students occasionally engage in relevant training exercises, such opportunities are not widely available to all dance arts majors. The majority of students consider exercises involving digital stage technology to be a crucial component in enhancing their artistic aesthetic capabilities.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec20\" class=\"Section2\"\u003e\u003ch2\u003eStudent audience\u0026rsquo;s willingness of participation in digital stage design project\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab8\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 8\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eWillingness of participation in digital stage design project\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"2\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eAttitude\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003ePercent\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eVery agree\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e31.49%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eAgree\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e43.95%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNot sure\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e16.87%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003edisagree\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e5.77%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eVery disagree\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e1.92%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs presented in Table\u0026nbsp;\u003cspan refid=\"Tab8\" class=\"InternalRef\"\u003e8\u003c/span\u003e, the majority of students expressed a willingness to attend a digital technology class at least once a week, and they believe that art teachers\u0026rsquo; proficiency in applying digital technology can contribute to the development of their own digital understanding within Chinese arts design. Meanwhile, 16.87% of students selected \"Not Sure,\" as they lack confidence in other forms of Chinese traditional culture, such as calligraphy and martial arts. These students also perceive the integration of Chinese artistic traditions with digital stage technology as requiring a high level of foundational art skills and aesthetic competence.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec21\" class=\"Section2\"\u003e\u003ch2\u003eStudent audience\u0026rsquo;s feedback of participation in digital stage design project\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab9\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 9\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eFeedback of participation in digital stage design project\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"3\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNumber\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eItems\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eSatisfaction\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eEquipment on Palm drumming\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e93.22%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eVR glass\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e62.71%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eRemote control\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e47.45%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eLights\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e42.37%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eMovie props\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e33.89%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs presented in Table\u0026nbsp;\u003cspan refid=\"Tab9\" class=\"InternalRef\"\u003e9\u003c/span\u003e, the majority of students expressed satisfaction with the \u0026ldquo;Equipment on Palm Drumming.\u0026rdquo; This innovative device allows the audience to interact by producing electronic drumming sounds in response to the performers\u0026rsquo; movements during dance and martial arts performances. Additionally, the audience can control the digital size of the clone image through this equipment, thereby enhancing their level of participation. A total of 93.22% of student audiences supported this interactive method. Regarding VR glasses, although they are commonly used across various fields, they no longer attract audience attention as effectively as before. In terms of audience satisfaction, movie props scored the lowest at only 33.89%. Due to their common use in art shows and theater performances, these props are no longer considered significant for future market development. However, according to student audience interviews, they may serve as derivative peripheral products linked to successful traditional theatrical performances.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec22\" class=\"Section2\"\u003e\u003ch2\u003eThe comparative analysis on paired sample\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab10\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 10\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003ePaired Sample T-test of the Writing Tests\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"10\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c7\" colnum=\"7\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c8\" colnum=\"8\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c9\" colnum=\"9\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c10\" colnum=\"10\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colspan=\"2\" nameend=\"c7\" namest=\"c6\"\u003e\u003cp\u003e95% Confidence Interval of the Difference\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c8\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colname=\"c9\"\u003e\u0026nbsp;\u003c/th\u003e\u003cth align=\"left\" colname=\"c10\"\u003e\u0026nbsp;\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eMean\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eStd. Deviation\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eStd. Error Mean\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eLower\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003eUpper\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003et\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c9\"\u003e\u003cp\u003edf\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c10\"\u003e\u003cp\u003eSig.\u003c/p\u003e\u003cp\u003e(2-tailed)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003ePaired\u003c/p\u003e\u003cp\u003eSample 1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eBefore and after experience test\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026minus;\u0026thinsp;.718\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e2.386\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e.323\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e-1.374\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e\u0026minus;\u0026thinsp;.081\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e-2.253\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c9\"\u003e\u003cp\u003e59\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c10\"\u003e\u003cp\u003e.028\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs shown in Table\u0026nbsp;\u003cspan refid=\"Tab10\" class=\"InternalRef\"\u003e10\u003c/span\u003e, the paired sample t-test analysis of the pre- and post-participation test scores indicates an average difference of -0.718. This suggests that a higher level of satisfaction with the experience was achieved after the completion of the experimental research on digital stage application activities, compared to the scores obtained before and after the participation in the integration of Chinese artistic culture and digital application design. The results demonstrate a certain degree of improvement, indicating that the transformation in the digital technology teaching mode has had a positive impact on enhancing students\u0026rsquo; dance performance.\u003c/p\u003e\u003c/div\u003e"},{"header":"Discussion","content":"\u003cp\u003e\u003cb\u003eResearch question 1: What are the main characteristics of spatial structure, image expression, methods of cultural integration, and human-computer interaction in the application and XR-enhanced presentation of traditional cultural dance arts?\u003c/b\u003e\u003c/p\u003e\u003cp\u003eBased on the data analysis presented above, the digital design model of traditional dance represents an innovative artistic form that integrates traditional dance elements with modern technological tools. It is characterized by the use of digital technologies such as computer graphics, virtual reality, and projection mapping to digitize and reconstruct traditional dance movements and environments, thereby generating visually compelling performance effects.\u003c/p\u003e\u003cp\u003eThis model not only offers audiences an immersive artistic experience and expands the scope of dance innovation, but also provides performers with enhanced opportunities for artistic expression and creativity. It effectively integrates traditional cultural arts with contemporary aesthetics and technological advancements, enriching the expressive diversity of traditional dance. The digital design model of traditional dance combines digital tools with traditional performance forms to create distinctive choreographic presentations and interactive experiences. The following section outlines several digital design patterns in traditional dance and their key characteristics.\u003c/p\u003e\u003cdiv id=\"Sec24\" class=\"Section2\"\u003e\u003ch2\u003eVirtual stage and background\u003c/h2\u003e\u003cp\u003eThe primary features of virtual stages and backgrounds include: (1) the use of digital stage technology to construct virtual stage settings and traditional cultural environments; and (2) the presentation of these virtual backgrounds through three-dimensional modeling techniques such as projection mapping and augmented reality, which are synchronized with dance choreography to generate distinctive visual effects.\u003c/p\u003e\u003cp\u003eThe key advantages of virtual stages and backgrounds are as follows: (1) they enhance the visual depth and richness of stage performances; (2) they significantly increase the audience\u0026rsquo;s sense of immersion; and (3) they enable rapid transitions between different scenes and digital lighting setups.\u003c/p\u003e\u003cdiv id=\"Sec25\" class=\"Section3\"\u003e\u003ch2\u003eInteractive projection and real-time effects\u003c/h2\u003e\u003cp\u003eThe primary features of interactive projection and real-time effects include: (1) the use of interactive projection and real-time effect technologies that enable dancers to engage with virtual elements, thereby significantly enhancing their artistic presentation; and (2) the facilitation of audience participation through well-designed interactive activities, such as manipulating changes in virtual effects by selecting different stage areas.\u003c/p\u003e\u003cp\u003eThe key advantages of interactive projection and real-time effects are as follows: (1) they enhance the audience\u0026rsquo;s sense of engagement and involvement; and (2) they create a dynamic, immediate performance experience that bridges the interaction between humans and digital technology, performers and audiences, as well as traditional cultural arts and art learners.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec26\" class=\"Section3\"\u003e\u003ch2\u003eVirtual characters and animations\u003c/h2\u003e\u003cp\u003eThe primary features of virtual characters and animations include: (1) the integration of stage projection systems\u0026mdash;including floor projections, side screens, sky screens\u0026mdash;and XR technology to construct a comprehensive and immersive visual environment; and (2) the incorporation of virtual characters and animations into dance performances, enabling interaction with real-life dancers. These virtual elements can take the form of humanoid characters, creatures, or abstract visual motifs, such as virtual flames, water currents, combat sequences, calligraphy, martial arts, and Zen-inspired imagery. These elements are seamlessly overlaid onto the physical stage and performers, resulting in visually striking effects that surpass traditional physical stage techniques.\u003c/p\u003e\u003cp\u003eThe key advantages of virtual characters and animations are as follows: (1) they enhance the creative depth and imaginative potential of the performance; and (2) they expand the artistic boundaries of dance performance and significantly enrich the audience\u0026rsquo;s experiential engagement.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec27\" class=\"Section3\"\u003e\u003ch2\u003eDigital music and sound design\u003c/h2\u003e\u003cp\u003eThe primary features of digital music and sound design include: (1) the use of digital music production and sound design techniques to create an immersive auditory environment for both dancers and audiences, enabling interaction with virtual scene elements; (2) the synchronization of music with virtual dance elements to enhance visual and auditory coherence; and (3) real-time responsiveness to the transitions and dynamic changes occurring on the digital stage.\u003c/p\u003e\u003cp\u003eThe key advantages of digital music and sound design are as follows: (1) music can be seamlessly integrated with choreographic sequences, thereby enhancing the emotional depth and expressive power of the performance; and (2) sound design functions as a guiding element that directs audience engagement, encouraging active participation and delivering an immersive artistic experience.\u003c/p\u003e\u003c/div\u003e\u003c/div\u003e\u003cdiv id=\"Sec28\" class=\"Section2\"\u003e\u003ch2\u003eHolographic projection\u003c/h2\u003e\u003cp\u003eThe primary features of holographic projection include: (1) the use of holographic projection technology to present three-dimensional virtual dancers or objects on stage. Technologies such as avatars, Unreal Engine, and inside-out tracking enable the transcendence of physical limitations inherent in traditional stages, unlocking the vast creative potential of traditional art forms; and (2) the ability for viewers to observe virtual elements from multiple angles, spatial levels, and perspectives. Inspired by classical Chinese poetry, for instance, master and apprentice figures can perform sword dances across different times and spaces, offering audiences a distinctive visual experience and a profound artistic impact.\u003c/p\u003e\u003cp\u003eThe key advantages of holographic projection are as follows: (1) it facilitates the creation of novel artistic expressions through the integration of XR technology in digital stage arts; and (2) it significantly enhances the visual intensity and immersive quality of the audience\u0026rsquo;s experience.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec29\" class=\"Section2\"\u003e\u003ch2\u003eReal-time data feedback\u003c/h2\u003e\u003cp\u003eThe primary features of real-time data feedback include: (1) the use of sensors and real-time data systems that enable dancers to respond to audience movements or sounds instantaneously, thereby facilitating direct interaction between performers and spectators; and (2) the ability for audiences to observe dynamic changes in lighting and visual effects on the digital stage, which encourages more active participation throughout the artistic experience.\u003c/p\u003e\u003cp\u003eThe key advantages of real-time data feedback are as follows: (1) it generates a dynamic and responsive performance environment that fosters a sense of audience involvement in the artistic process; and (2) it delivers an unprecedented level of immersion and interactivity in the viewing experience.\u003c/p\u003e\u003cp\u003eIn summary, digital stage technology has significantly influenced the aesthetic and experiential dimensions of traditional dance and artistic presentation. It not only expands the possibilities for expressive and contemporary artistic interpretation, but also introduces new challenges in integrating emerging stage technologies with artistic integrity. The central challenge lies in achieving a balanced design approach that preserves and highlights the aesthetic and cultural values of traditional dance while leveraging modern XR technologies to create compelling and impactful performances.\u003c/p\u003e\u003cp\u003e\u003cb\u003eResearch question 2: What are the attitudes of arts student audiences toward the application and viewing experience of XR-based digital stages?\u003c/b\u003e\u003c/p\u003e\u003cp\u003eBased on the data analysis presented above, the majority of arts students support this innovative approach to art education through experimental integration, and they accept the new mode of digital technology interaction in traditional artistic performances. It is widely perceived that digital technology provides the necessary conditions for aesthetic innovation in traditional cultural dance, while also promoting the diversification of stage art forms, including experimental performances, interactive presentations, cross-disciplinary collaborations, and expanded, boundaryless stage spaces.\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab11\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 11\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eThe arts students\u0026rsquo; concern on digital stage technology courses\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"4\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNumber\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eInteresting Courses\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003ePercentage\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eRanking\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eXR technology course\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e88.13%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eFirst\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eHolographic projection and stage art integration course\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e81.35%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSecond\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eTraditional culture integration arts courses\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e77.96%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThird\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eAudience experience design course\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e71.18%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eForth\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eVirtual environment special effects course\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e64.40%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eFifth\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eAs demonstrated through the experimental design and Table\u0026nbsp;\u003cspan refid=\"Tab11\" class=\"InternalRef\"\u003e11\u003c/span\u003e, students perceive that digital technology has introduced both new opportunities and challenges to the contemporary development of stage arts. It has not only promoted the diversification and innovation of traditional cultural art but also enriched performance formats, enhanced audience interactivity, and increased the appeal and adaptability of stage art.\u003c/p\u003e\u003cp\u003eFurthermore, digital technology has provided effective means for the broader dissemination of stage artworks, thereby facilitating cultural exchange and heritage preservation. However, with the increasing application and promotion of digital technology in the field of stage art, new challenges have emerged for the art education models in colleges and universities. The demands on the artistic and cultural integration capabilities of both educators and students have significantly increased.\u003c/p\u003e\u003c/div\u003e"},{"header":"Conclusion","content":"\u003cp\u003eDigital technology is reshaping stage art, transitioning it from traditional forms to multidimensional, cross-disciplinary expressions, and introducing new demands for talent development. XR technologies\u0026mdash;VR, AR, and MR\u0026mdash;revolutionize stage design, performance, and audience engagement, though they challenge traditional single-discipline artists to adapt.\u003c/p\u003e\u003cp\u003eIntegrating digital tools into art curricula is essential. Holographic projection creates virtual environments, merging digital imagery with performance to enhance expression. Educators should incorporate immersive experiences, helping students master traditional techniques while gaining digital skills. Interactive platforms can simulate stage design, boosting technical and creative capabilities.\u003c/p\u003e\u003cp\u003ePractice-oriented teaching based on traditional art forms strengthens applied education. Combining cultural elements with digital design aids understanding of digital stages and fosters innovation. For example, digital adaptations of Chinese opera allow students to reconstruct historical settings and create virtual performances, preserving traditions while developing holistic skills.\u003c/p\u003e\u003cp\u003eXR tools enhance immersive audience experiences, turning stage art into interactive platforms. Audiences can access virtual theaters, choose viewing angles, and interact in real time via gestures or voice to adjust lighting and settings, creating personalized engagements. This technology expands artistic creativity, with companies using motion capture for digital characters, enriching contemporary expression and opening new innovation avenues.\u003c/p\u003e\u003cp\u003eIn summary, digital technology transforms art creation and dissemination, raising talent requirements. Deep integration of technology and education is needed to cultivate interdisciplinary professionals for future stage demands, promoting ongoing development in the new era.\u003c/p\u003e\u003cp\u003eHowever, this study is subject to certain limitations that require careful consideration. First, challenges related to real-time synchronous rendering persist. To achieve a realistic and immersive experience, the artistic design relies on complex 3D models with advanced visual effects. In mixed reality (MR) environments, precise synchronization between virtual elements and live performers is also required. The performance of current technological capabilities places such productions at risk of technical failure at any moment. Additionally, the current audience composition primarily consists of art students with foundational knowledge in both artistic and technical domains. If replaced by general audiences, the experience may not be as engaging, and some viewers may even experience discomfort or dizziness due to excessive visual transitions. These potential issues related to XR-based performance will be further evaluated in subsequent phases of this experimental study.\u003c/p\u003e\u003cp\u003eSecond, there exists an imbalance between digital technology and artistic expression. Overreliance on XR technologies and the interaction between virtual and real elements may lead to a prioritization of form over artistic substance. Excessive stylistic embellishment may fail to sustain audience engagement over time. Moreover, the complexity introduced by digital integration may cause discomfort, resistance, or even disengagement among traditional artists, thereby undermining the spontaneity and authenticity characteristic of live performance. Finally, the financial implications\u0026mdash;such as high initial investment and potential audience discomfort\u0026mdash;may increase market costs. These risk factors will be a key focus in future research.\u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eFunding\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe authors declare that no funding was received from the completion of the article.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthor contributions\u003c/strong\u003e\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eBL implemented the research, analyzed the results, and drafted the manuscript. JX designed the study and proofread the manuscript. Both authors reviewed and approved the final manuscript.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eData Availability\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe data is stored in the open database, and special permissions are not required to access it.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompeting interests\u003c/strong\u003e\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe authors declare no competing interests.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eEthical approval\u003c/strong\u003e\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe authors have adhered to the principles outlined in \u003cem\u003eThe Interim Measures for the Review of Science and Technology Ethics\u0026nbsp;\u003c/em\u003e(China National Science and Technology Ethics Committee, No. 167 [2023]).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eInformed consent\u003c/strong\u003e\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eInformed consent was obtained from all participants prior to data collection. The study was conducted on March 10, 2025. Specifically, participants were provided with a written statement outlining the purpose of the study, assurances of anonymity and confidentiality, and a clarification that their responses would be used solely for academic research. We also informed the participants that the survey participation was entirely voluntary, and completion of the survey was considered to indicate informed consent.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n\u003cli\u003eDeng Y (2020) Reality in virtual mirror image: On the fusion of contemporary dance and holographic technology. \u003cem\u003eDance\u003c/em\u003e 64 (05):75-77\u003c/li\u003e\n\u003cli\u003eDong G (2024) Martial Dance: Stage Wushu as a Performing Art. \u003cem\u003eCritical Arts\u003c/em\u003e 38(6):1-11. https://doi.org/10.1080/02560046.2024.2340128\u003c/li\u003e\n\u003cli\u003eDong Y, Hong X. (2022) Exploration and innovation of virtual image variety shows in the field of scene vision--taking \u0026ldquo;2060\u0026rdquo; as an example. \u003cem\u003eNews Lovers\u003c/em\u003e 37 (08):101-103 DOI:16017/j.cnki.xwahz.2022.08.013\u003c/li\u003e\n\u003cli\u003eFu J (2019) Application and analysis of multimedia technology in Wumei Design. \u003cem\u003eSichuan Drama\u003c/em\u003e, 32 (11):159-162.\u003c/li\u003e\n\u003cli\u003eKing T (2018) Streaming from stage to screen: its place in the cultural marketplace and the implication for UK arts policy. \u003cem\u003eInternational Journal of Cultural Policy \u003c/em\u003e24(02): 220-235. https://doi.org/10.1080/10286632.2016.1150270\u003c/li\u003e\n\u003cli\u003eLan Y (2023) A study on the musical artistic conception and charm of the classical poetry \u0026ldquo;Everlasting longing for each other\u0026rdquo; by the Chinese poet Li Bai. \u003cem\u003eVoprosy Istorii\u003c/em\u003e 2 (2): 176-183. http://dx.doi.org/10.31166/VoprosyIstorii202302Statyi63\u003c/li\u003e\n\u003cli\u003eLi X (2019) The meaning and value of VR in the dissemination of traditional culture-Taking ethnic dance drama as an example. \u003cem\u003eMedia\u003c/em\u003e (12):82-83.\u003c/li\u003e\n\u003cli\u003eLu Y (2022) Research on the communicative power of Chinese dance in the context of digitization. \u003cem\u003eChinese J of Radio and Telev \u003c/em\u003e25 (11):58-61.\u003c/li\u003e\n\u003cli\u003eMantzou P (2023) Bitsikas, Xenofon; Floros, Anastasios. Enriching Cultural Heritage through the Integration of Art and Digital Technologies. \u003cem\u003eSocial Sciences\u003c/em\u003e12(11):1-18 https://doi.org/10.3390/socsci12110594\u003c/li\u003e\n\u003cli\u003eMeng X (2017) Research on the protection and innovation of folk dance under motion capture technology. \u003cem\u003eGuizhou Ethnic Studies \u003c/em\u003e38(06):158-161. DOI:10.13965/j.cnki.gzmzyj10026959.2017.06.037\u003c/li\u003e\n\u003cli\u003eNeo David H J (2020) Tan Sooi Beng (Ed). Eclectic cultures for all: the development of the Peranakan performing, visual and material arts in Penang. Univ. of Malaya (1). http://dx.doi.org/10.22452/SARE.VOL57NO1.18.\u003c/li\u003e\n\u003cli\u003eTian T (2020) The choreographic principles and body strategies of digital interactive dance. \u003cem\u003eJ of Beijing Dance Academy\u003c/em\u003e 34 (06):98-105\u003c/li\u003e\n\u003cli\u003eWang B (2022) Body and posture: The cross-media performance of the dance \u0026ldquo;Tang Palace Banquet.\u0026rdquo; \u003cem\u003eJ of Beijing Dance Academy 36\u003c/em\u003e (03):13-19\u003c/li\u003e\n\u003cli\u003eWang C, Xie X (2020) The design and realization of the integration of immersive virtual reality into the theatrical stage-Taking Harbin Institute of Technology\u0026rsquo;s robot performance digital small theater as an example. \u003cem\u003eSichuan Drama \u003c/em\u003e33 (02):16-19\u003c/li\u003e\n\u003cli\u003eWang Y (2022) Dancing into painting: A cross-media exploration from \u0026ldquo;A Thousand Miles of Country and Mountains\u0026rdquo; to \u0026ldquo;Only This Green\u0026rdquo;. \u003cem\u003eJ of Beijing Dance Academy\u003c/em\u003e, 36 (05):8-13\u003c/li\u003e\n\u003cli\u003eYu Y (2015) A new interpretation of \u0026ldquo;interactive dance\u0026rdquo; works under new media technology. \u003cem\u003eJ of Beijing Dance Academy\u003c/em\u003e 23 (S1):42-47\u003c/li\u003e\n\u003cli\u003eYang D (2023) The aesthetic empowerment of technological elements in the dance \u0026ldquo;Only Green Color.\u0026rdquo; \u003cem\u003eSouthern Cultural Forum\u003c/em\u003e 28 (04):174-176\u003c/li\u003e\n\u003cli\u003eZhang X, Zhao S (2021) Research on cross-cultural communication of Chinese dance Images-taking \u0026ldquo;Tang Palace Banquet\u0026rdquo; as an example. \u003cem\u003eMedia\u003c/em\u003e (11):65-68.\u003c/li\u003e\n\u003cli\u003eZhu Y (2019) Research on the digital protection of Tujia Waving Dance. \u003cem\u003eJ of Beijing Dance Academy \u003c/em\u003e33\u003cem\u003e \u003c/em\u003e(01):79-84.\u003c/li\u003e\n\u003cli\u003eZhukova, O \u003cem\u003eet al\u003c/em\u003e (2023) Digital technologies for introducing Gamification into the education system in the context of the development of industry 4.0. \u003cem\u003eIngenierie des Systemes d\u0026apos;Information \u003c/em\u003e28(01):141-147. https://doi.org/10.18280/isi.280114\u003c/li\u003e\n\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"extended Reality (XR) technology, traditional poetry-Inspired dance arts, immersive experience, communication of intangible cultural heritage, market development","lastPublishedDoi":"10.21203/rs.3.rs-7369628/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-7369628/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThe integration of digital stage technology into traditional cultural and historical poetry dance arts not only generates novel cultural communication effects but also enhances cultural inheritance and social identity, while promoting global cultural dissemination. This study presents a case study on the enhancement and user experience evaluation of Extended Reality (XR) technology in the context of digital stage applications, focusing on the convergence of digital stage technology and emerging forms of traditional cultural aesthetics through experimental arts education. It further explores the communicative significance and social value of integrating XR technology with classical poetry, particularly the works of Du Fu, a renowned poet of the Tang Dynasty in China. Additionally, the study assesses the willingness of student audiences to accept the integration of XR and traditional poetry-inspired dance arts through immersive experience evaluations. The research adopts a mixed-methods approach combining qualitative and quantitative methodologies. The sample population consists of second- and third-year arts students from the School of Arts at\u0026nbsp;a Henan University, China, to evaluate their receptiveness to artistic design reforms incorporating XR digital technologies and to provide insights for future market applications. Research findings indicate that the application of digital technologies, such as clone mirror and motion capture systems, in the presentation and teaching of traditional Chinese poetry-based dance arts not only enhances audience engagement and achieves a more effective synthesis between XR technological modes and vivid cultural heritage transmission methods, but also contributes significantly to the effectiveness of market development and international communication of intangible cultural heritage.\u003c/p\u003e","manuscriptTitle":"A Case Study on the Enhancement of Extended Reality Technology in Digital Stage Production for Chinese Traditional Poetry-Inspired Dance Arts","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-10-09 14:27:05","doi":"10.21203/rs.3.rs-7369628/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"b1c63d82-7f74-425c-907d-1afc8444d5a9","owner":[],"postedDate":"October 9th, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[{"id":55934062,"name":"Humanities/Cultural and media studies"},{"id":55934063,"name":"Social science/Cultural and media studies"},{"id":55934064,"name":"Business and commerce/Information systems and information technology"},{"id":55934065,"name":"Humanities/Literature"},{"id":55934066,"name":"Humanities/Medical humanities"},{"id":55934067,"name":"Social science/Science technology and society"}],"tags":[],"updatedAt":"2025-12-21T12:53:52+00:00","versionOfRecord":[],"versionCreatedAt":"2025-10-09 14:27:05","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-7369628","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-7369628","identity":"rs-7369628","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}