As Richard Schechner explains in his book “Performance Theory”: “the drama is the domain of the author, the composer, scenarist, shaman; the script is the domain of the teacher, guru, master; the theatre is the domain of the performers; the performance is the domain of the audience” (p.70,Schechner 2004). He proposes a model of four concentric, overlapping discs with the largest and the least strictly defined, performance, at the bottom, drama, script, and finally theatre resting on top of each other. Notions of the parameters of contemporary performance (drama, script, theatre, and performance) are defined with the different dominant characters (Schechner 2004). The statement from Richard Schechner makes use of processes and procedures that draw from the purposes of artistic inquiry and audience influences shape the experiences in an art scene.
The purposed framework DSPI is advanced in its use of shifting transformation and shifting dominant in the procedure of creating practice through three forms of negotiation: artist intent and intent transformation, desirable experience and actual experience, and artwork-audience relationship. I apply four conceptual components in this structure: (1) Drama; (2) Story; (3) Production; and (4) Interaction. The coming section will first give explanations for these four components following the discussion with roles of four conceptual components in designing experience with a seamless communication and understanding.
1.4.1 Component 1: