Live performance has always been rooted in shared presence. The curtain rises, the audience watches, and applause marks the end. However, that rhythm is actually changing. Digital tools now play a big part in how audiences interact with the arts. This is not limited to just during a performance, but before, after, and often from entirely different locations. Whether someone is seated in a theatre or watching remotely, the lines between audience and performer are not as rigid as they once were.
One of the most significant signs of this change is how live events are inviting direct participation. Theatre productions that used to follow a fixed script are now leaving room for input, feedback, and interaction. Now, viewers can vote on plot outcomes, decide which scene they want to watch next, or even scan a QR code at their seat that unlocks alternate perspectives. It can be subtle at times, but it definitely rewrites the rules. No two experiences are exactly the same.
Some of the more immersive formats don’t rely on visuals alone. Sound has taken on a much bigger role, especially with the use of spatial and directional audio. In smaller productions, that might mean voices that appear to move behind or around you. In larger venues, headphones are used to deliver private audio layers that allow each person to hear something slightly different.
Spatial sound isn’t limited to live stages, either. It’s already well established in gaming. In online casinos, for example, many slot titles selected as the best use layered audio in a way that is very similar to a live art performance. A player spinning through an Egyptian-themed slot hears the environment change as players progress. It’s not only online pokies; these sites often provide live dealer roulette games that build tension as the wheel spins, and game-style casino games have full music scores. The goal of these games and the live performances is the same: making the experience come alive.
Online performances are also catering to audiences who can’t be there physically. Live-streamed theatre and interactive concerts are purpose-built for online access. Some allow viewers to talk to cast members via chat boxes or send in reactions that appear on screen in real time. This format allows performers to be present and the audience to interact.
Augmented reality is being used more frequently, too, especially in contemporary dance and art installations. Some events allow you to hold up your phone, and the backdrop around you changes. A static prop might reveal hidden animation, or a blank wall displays a performer’s internal monologue, but it is only visible to those with access. This type of interaction now becomes part of the narrative, which allows the audience to follow the story but reveals it visually.
New technology is also helping performances adjust to the viewer. AI is being tested and used in live shows to change lighting, sound, and the pace depending on audience response. A camera tracks where people look, which the system can pick up if attention is fading. Adjustments are made mid-performance, sometimes in ways the audience never realises. In online-only shows, for instance, the script changes to reflect what a person has already seen or heard. In other words, AI is being used to personalise live experiences on stage. It’s very similar to gaming, where NPCs react differently based on previous choices and actions.
This type of influence works in both directions. Viewers now expect to be part of the moment. In the same way gamers expect tailored experiences, live arts audiences now use technology to respond to them. The idea of sitting still in the dark for two hours without interaction is no longer the only model. Some performances offer layered viewing. Others let the audience wander through physical or virtual spaces. Engagement is no longer a one-size-fits-all approach.
Social media is part of the experience now. Some events encourage viewers to share moments online during the show. Screens on stage may use viewer posts or comments and make them part of the event. Other productions involve the audience through live polls that influence performers’ decisions. It’s theatre, yes, but with a running dialogue in the background that becomes part of the whole.
None of this is designed to replace traditional performance. There’s still power in a quiet stage and an attentive room. What’s changing is how many ways there are today to experience the same work. A person watching from Melbourne might get a version that adapts to their screen. Someone else in Adelaide might be at the venue, headphones on, hearing a character whisper something no one else can hear. Another person in Perth might catch a replay a week later with a new ending based on votes cast during its live run.
Digital tools are being used to expand what live performances can offer. Artists can experiment with how far they allow the audience to drive the narrative. Viewers, again, get to enjoy the interaction and outcome based on their choice. The result is something more immersive, more layered, and more interactive.
