AC5007 - Batch 6 - Jin Xiaoyu by NUS Department of Architecture

Theatre Heritage Conservation in the Digital Age:

Exploring Government Strategies of Public Interaction

through Social Media

Jin Xiaoyu

A0283691U

Dissertation submitted to Department of Architecture in

Partial ful6ilment of the requirement for the Degree of

MASTER OF ARTS IN ARCHITECTURAL CONSERVATION

at the DEPARTMENT OF ARCHITECTURE

NATIONAL UNIVERSITY OF SINGAPORE

Supervisor: Professor Wong Yunn Chii

April 2024

Abstract

With the rapid development of the Internet, the proliferation of mobile devices, and the extensive reach of social media, theatre heritage conservation has entered the digital age. Generation Z, having grown up in this era as digital natives, is becoming the main force in experiencing and consuming theatre heritage. They display characteristics markedly different from previous generations, including proIiciency in using digital devices, a preference for participatory experiences, and the acceptance of diverse values. Social media platforms, which primarily utilize images and videos, have become their everyday tools for obtaining and sharing information. This necessitates a re-evaluation and redesign of public engagement strategies by governments to better preserve theatre heritage.

This study Iirst introduces the characteristics and evolving trends of Generation Z, highlights generational differences, and reviews the current experiences of theatre heritage along with the policy, economic, and technological factors inIluencing these experiences. It then analyses the transformation and trends in public interaction with theatre experiences, examines the sources of heritage value in theatre architecture, and discusses shifts in conservation strategies, with a particular focus on new digital technologies in architectural conservation. Lastly, it evaluates the current state of interaction between the government and the public, tailoring strategies for the use of social media by both parties, and explores the potential role of AI in this context.

Through its analyses and recommendations, this study serves as a reference for governments and the public interacting via social media from the perspective of

addressing Generation Z in the digital age, aiming to enhance harmonious interactions and improve the level of theatre heritage conservation.

Keywords: Theatre Heritage, Social Media, Public Interaction

Acknowledgments

During my study in the Architectural Conservation Programme at the National University of Singapore and the preparation of this dissertation, I was delighted to receive the support and valuable advice from my family, teachers, and friends. I am sincerely grateful to my beloved family for their endless love and ongoing support over the years. Without their support, I could not have reached where I am today. I would like to express my heartfelt thanks to Professor Wong Yunn Chii His guidance and encouragement have led me through all the difIiculties during the writing of this thesis and other projects. I also want to thank the other teachers during my studies, who provided me with professional knowledge and motivation for progress.

1 Research Framework

1.1 Introduction

Entering the second decade of the 21st century, with the development of information dissemination technologies and the shift in consciousness of the younger generations, theatre heritage conservation is entering a new phase. Smart devices and mobile internet have been widely applied, social media and AI continue to evolve, and the digital society's mainstream group, Generation Z, is shaping new connotations of theatre heritage conservation and becoming the main body of its related communication and consumption. In a thorough comparison of generational differences and their multifaceted changes, different generational groups have unique values, consumption views, and technology preferences, closely related to the ideological and economic conditions of their birth era, further affecting their attitudes and behaviours towards theatre heritage.

Generation Z, which has grown up highly synchronized with the internet and digital devices, represents the renewal and transformation of the mainstream audience of theatre heritage. The immediacy and convenience with which they access information have inIluenced their expectations for heritage experiences and interaction methods. Unlike previous generations, who primarily see theatres as performance centres and witnesses to historical continuity, Generation Z tends to realize the diversity of theatre functions to cater to richer needs and scenarios.

Generation Z's consumption patterns inside theatres have also spawned some new trends, especially under the impact of the pandemic. Combined with their high acceptance of virtual worlds, online viewing has at least become a supplement to

ofIline viewing, and its long-term impact needs further tracking. This is both an opportunity and a challenge. Leveraging social media for communication and combining virtual presentations can undoubtedly expand the audience signiIicantly, yet it is crucial to cautiously treat the traditional, site-speciIic live performance experience associated with historic buildings.

Understanding the heritage presentation preferences brought by generational differences is crucial for governments and professionals, concerning future policy formulation, technology application, and long-term value conservation. On one hand, there is Generation Z's pursuit of diverse content, and on the other, their dependence on modern digital devices. Adapting to these changes while being wary of their negative impacts on heritage core values requires dialectical analysis, careful veriIication, and adherence to the principles of architectural conservation.

The application of social media in today's digital age is an unavoidable critical issue for government and public interaction. Actions happening online can greatly expand the boundaries of democratic participation and improve the quality and efIiciency of decision-making. Of course, there are always two sides to everything. With the help of AI and big data, maintaining fairness and protecting privacy are unavoidable concerns. Through such research, we can better understand and interpret the intrinsic value of theatre heritage and explore presentation methods that reference history, serve the present, and look towards the future.

1.2 Background

Theatre architecture represents the aesthetic values of a historical period, embodying the popular architectural styles of the era in which it was built. It serves as a witness to the history of performing arts and acts as a carrier for the collective memory of countless audiences. Typically a landmark within a region, theatre buildings involve signiIicantly greater Iinancial and design investments than ordinary buildings and are designed to accommodate large crowds. Theatre provides cultural experiences not only through its performances but also through its architectural style and historical ambiance. Preserving it is crucial not just for maintaining historical and cultural landmarks, but also for preserving the consensus and cohesion of audiences and communities. As modern cities face the pressures of development and renewal, it is necessary to address how to balance the incorporation of new technologies to adapt to modern needs while also embracing sustainable development.

The digital age introduces new experiential technologies like virtual reality (VR), augmented reality (AR), and recording devices like 3D scanners, laying the foundation for new ways to preserve and experience theatre With the rapid expansion of internet coverage and transmission speeds, consumers can use personal devices at home to experience theatre heritage at their preferred times, free from spatial and temporal constraints. These developments present new challenges and opportunities for government and professionals in balancing physical preservation with virtual experiences without falling into the trap of over-

pursuing virtual authenticity. In terms of public interaction, the challenge is to attract more of the public, stimulate their interest in preservation, and enhance their literacy in conservation. Faced with ever-emerging trends and constantly updating presentation methods, it's crucial to capture public attention and involve them in the preservation process, including early-stage policy feedback, monitoring during project progression, and post-completion feedback.

Social media has permeated modern daily life, where users obtain information, share emotions, and express opinions. This unprecedented decentralized, real-time, and boundless platform for information sharing and communication demands that governments pay attention to interactions with the public through social media, gather feedback, respond to queries, and build community. It's particularly important to focus on the rapidly increasing usage of short video and image platforms, adapting the form and content of posts accordingly. Of course, it's also necessary to confront the negative aspects of these tools to ensure balanced attention and resources among projects and to address the digital divide across generations. Integrating social media strategies with digital conservation technologies, heritage conservation policies, and democratic participation can synergistically enhance the impact of these efforts.

1.3 Research Objectives and Methodology

The primary research objective of this study is to explore how governments can utilize the characteristics of social media in the digital age, combining the experiences and perceptions of Generation Z regarding theatre heritage, to leverage

the strengths of social media and avoid its potential risks. The aim is to attract more public attention to the conservation of theatre heritage, enhance public participation, and establish democratic interaction mechanisms. This approach provides governments with a broader perspective, more comprehensive opinions, and sustained oversight throughout the different life cycles of theatre heritage conservation projects. It also explores the potential of AI in this area, such as assisting governments in collecting public suggestions, enhancing public knowledge of architectural conservation, improving decision-making accuracy, and helping the public to evaluate and offer suggestions.

The Iirst phase of the paper employs a combination of qualitative research and desktop research methods to analyse generational change trends, uses qualitative research to summarize the characteristics of social media, and uses case studies to summarize existing experiences of theatre heritage.

The second phase uses literature reviews and theoretical analysis to explore the sources of value in theatre, comparative research to determine changes in public experience of theatre heritage, and literature review combined with qualitative research to identify the main issues in existing interactions between government and the public in architectural conservation.

The third phase combines qualitative research and literature reviews with expert opinions to derive strategies for government and public use of social media in theatre heritage conservation (Table 1).

Stage 1

Process Methods

Analyse generational change trends

Summarize the characteristics of social media

Summarize existing experiences of theatre heritage

Stage 2

Stage 3

Explore the sources of value in theatre heritage

Determine changes in public experience of theatre heritage

Identify the main issues in existing interactions between government and the public in architectural conservation

Derive strategies for government and public use of social media in theatre heritage conservation

• Qualitative research

• Desktop research

• Qualitative research

• Case studies

• Literature review

• Theoretical analysis

• Comparative research

• Literature review

• Qualitative research

• Expert opinions

Table 1 Research framework and corresponding methods

(Source: Author, 2024)

2 Literature Review

2.1 Existing Theatre Heritage Value

Heritage value has undergone signiIicant changes and diversiIication. These values are not inherent or static; rather, they are assigned by human societies based on changes in time, place, individuals, and communities, exhibiting dynamism and diversity (Smith, 2005). In heritage preservation practices, the focus has shifted from merely maintaining the structure and materials of heritage to a deeper understanding of its signiIicance, determined by the values imparted by different groups (Pearce, 2000). At the beginning of the 20th century, the value of heritage began to be redeIined, distinguishing between its historical value and contemporary value (Riegl, 1996), and categorizing them into emotional, meaningful, and functional categories. In the late 20th century, factors such as globalization, the development of tourism, and the rise of nationalism further evolved the perception of heritage value (Glendinning, 2003). Once monopolistic discourses began to disintegrate due to different perspectives of stakeholders, attributing multiple values to the same heritage (Arizpe, 2000). Social value often tends to be implicit, contemporary, and local ( Johnston and Australian Heritage Commission, 1992). Monuments and sites are not isolated but are deeply embedded in the culture that deIines their value (De la Torre, 2013). Their importance is dynamic, determined by time, place, individuals, and communities (Smith, 2005). Throughout the preservation process, as cultural, social, political, and economic factors continue to evolve, new values emerge (Avrami, 2000).

The signiIicant heritage values of theatres include: Historical value, reIlecting cultural transformations and historical events that impart intrinsic value, necessitating an analysis of the cultural processes that shape memory and identity. Aesthetic value focuses on the sensory aspects of heritage, extending to non-visual elements such as sound and smell, and involves the relationship between cultural value and authenticity. Cultural value includes tangible and intangible elements, reIlecting the meaning attributed to heritage by the community. Before being attributed cultural value, heritage is value-neutral (De la Torre, 2013). Use value emphasizes the actual participation of residents and tourists, as use is an inherent and unavoidable characteristic that should be coordinated with heritage preservation and management (ICOMOS, 2000).

2.2 Architectural Conservation in the Digital Age

Ensuring that heritage is transmitted to future generations in a complete and authentic manner reIlects the concept of intergenerational equity. Sustainability is at the core of balancing current needs with those of future generations without compromising the ability to meet those future needs. It often aims to link conservation with development (Castellanos and Descamps, 2009). Promoting sustainability through public participation helps accurately convey knowledge, facilitating effective and successful management. The participatory process involves establishing responsibilities (Albert et al., 2012). The principles of policy-making should prioritize the importance of protecting local culture, based on understanding and future considerations, outline conservation strategies, integrate them into

existing management activities, rely on thorough analysis, adapt to changing circumstances, and conduct regular reviews. The formulation process includes assessing importance, opportunities, and constraints, encouraging participation, drafting, seeking alternatives and revisions, and requiring interdisciplinary cooperation. Factors limiting conservation include the needs of owners, legal requirements, availability of resources, operability, and site conditions (International Council on Monuments Sites, 2013). Heritage conservation should take a cautious approach based on deep knowledge and solid techniques, aimed not only at protecting cultural and natural values (ICOMOS, 2013) but also prioritizing the rights of local residents. Educational institutions bear the responsibility of cultivating individuals' sense of responsibility toward national heritage (Monuments Commission, 1982).

The evolving and diverse values of heritage have become central to its conservation. These values are mapped onto heritage through individual and collective experiences and perceptions (De la Torre, 2013), initially focusing on preserving and revealing their aesthetic and historical values (ICOMOS, 1966). Today, conservation is broadly understood as all activities aimed at maintaining the signiIicance of heritage, involving ongoing attention, open processes, and the increasingly important aspect of participation. Conservation encompasses not only preservation and maintenance but also extends to survey, research, understanding, interpretation, and encompasses areas like sustainability, participation, and politics (Wijesuriya et al., 2013). Heritage management is seen as a system including a series of processes. This system evolves over time and is rooted in a complex network of people, places, data, and information. Its main objectives include promoting cultural diversity;

protecting the natural environment; ensuring the safety of tangible assets within properties; revitalizing communities; and allowing compatible land use and economic activities (Wijesuriya et al., 2013).

The complexity of deIining heritage values and conservation strategies requires an interdisciplinary nature, and digital heritage tools and applications further facilitate interdisciplinary cooperation. Technology serves not only as a tool for measurement and visual presentation but also promotes the development of knowledge and research methodologies. Three-dimensional digital models have revolutionized our interaction with architectural heritage, providing an intuitive and dynamic interface for information acquisition and analysis, different from static text. This digital form enhances the relationship between the observer and the observed, allowing users to navigate, dissect, and question models (Brusaporci, 2015). Data, metadata, and information are at the core of this approach (Murray, 2011). However, it is important to be cautious, as authenticity and visual effects should not overshadow the goals of conservation; in the Iield of digital heritage, the greatest temptation is the pursuit of aesthetics itself, which could pose a potential threat, as users might struggle to distinguish between replicas and reality, or even enter a surreal state where the virtual seems more real than actual (Baudrillard, 1976). New realism counters this potential crisis by establishing various simulation and visualization mechanisms, allowing for hypotheses and veriIications between virtual and real through user perception and comparison (Ferraris, 2014). The purpose of models is not to replicate reality but to make the simulation of reality possible (Maldonado, 2005). As interpretive models, they facilitate the analysis of heritage's historical, aesthetic, and cultural values. Visualization is not a single product but a process involving data

collection, processing, and simulation (Ch’ng, Gaffney and Chapman, 2014). In the literary study of models, it is crucial not to overlook their original documents and sources. Data visualization includes four stages: data collection, pre-processing, hardware presentation, and user perception (Ware, 2019). The selection of digitized objects reIlects judgments about their signiIicance and value (Cameron, 2007).

Digital tools and applications such as databases, virtual reality, augmented reality, digital museums, and social networks can supplement traditional heritage conservation methods.

2.3 Public Communication and Social Media in Architectural Conservation

Public communication is an important part of a broader protection process (ICOMOS, 2008). Interpretation and presentation are indispensable components in the process of cultural heritage conservation. The purpose of interpretation is to enhance awareness and understanding of heritage, showcasing a place's cultural signiIicance through publications, lectures, and educational activities. Its core principles include promoting understanding and appreciation of heritage, conveying its importance through scholarly and traditional methods, respecting the social context of the site, and encouraging participation from the public and stakeholders, while developing sustainable guidelines for heritage presentation (ICOMOS, 2013). Presentation refers to conveying heritage content through organized information, access, and infrastructure, including panels, tours, and digital tools. The principles emphasize the need to enhance understanding, appreciation, and protection of cultural heritage, ensuring it is conveyed through scholarly methods and traditions.

It highlights the importance of preserving the value and authenticity of heritage while fostering public involvement in conservation efforts and respecting the site's social context. Inclusivity in interpretation and stakeholder participation is crucial, as is the development of sustainable heritage presentation guidelines (ICOMOS, 2008). Different values no longer rely on a common registry system but exist within a complex network of interactions. (Bresler, 2023).

The widespread coverage of the internet and social media has made participatory methods possible, also fostering the emergence of participatory culture (Jenkins, 2006). The collision of dispersed knowledge and wisdom with multiple perspectives and viewpoints provides fertile ground for the emergence of new paradigms, making multi-directional participatory methods feasible. In the current participatory culture, the processes of dispersing knowledge and collective intelligence facilitate the collection, scanning, and blending of data and information, as well as comparisons among different viewpoints, to achieve common goals. This provides advanced strategies and processes for understanding, interpreting, presenting, and protecting heritage. Digitalization not only offers new possibilities for heritage conservation but also enhances public awareness and participation by making heritage more accessible and interactive.

3 Generational Differences and the Transformation of Theatre Heritage Experience

3.1 Characteristics and Trends of Generation Z

The hallmark of the digital age is the widespread application of mobile communication technology, the use of smart devices, and the prevalence of the internet. A generation is deIined as a group with identiIiable birth years, age ranges, and signiIicant life events (Koulopoulos and Keldsen, 2000).). The generation that coincides highly with the digital age is Generation Z, born after 1995 (Singh and Dangmei, 2016), and is the most educated and complex generation in history (Hysa, 2016). As digital natives, they have little or no memory of the world before the digital age (Parker, Graf and Igielnik, 2019).

In terms of technology adoption, Generation Z, having grown up in an informational and digital environment, adopts and applies new things and devices much faster than previous generations. They can freely switch between real and virtual environments without seeing a barrier between the two (Zjarczyńska-Dobiesz, Chomątowska, 2014). They not only use new electronic devices and social media to access information but are also keen to share it quickly with others (Osello, Lucibello and Morgagni, 2018). They dare to express their opinions on social media (Tyson, Kennedy and Funk, 2021) and prefer Instagram, which uses images as the main presentation form, and TikTok (Figure 1), which focuses on short videos. The usage rates of both are increasing, and they rely on social media (Figure 2).

Figure 1 A majority of teens visit YouTube, TikTok daily

(Source: Vogels, 2023)

Figure 2 More than half of teens say it would be difVicult for them to give up social media

(Source: Vogels, 2023)

In terms of value experience, Generation Z is driven by interests, has high taste (Chen, 2018), and is more receptive to diverse viewpoints (Smeltz et al., 2014). They are not satisIied with passively receiving experiences; instead, they seek to participate in them, obtaining personalized feedback, creating more diverse and open ways of experience (Dolot, 2018). They live in an unprecedented era of globalization where the widespread use of social media has enhanced the speed and breadth of information dissemination, and cultural exchange and mutual understanding are at historical highs. They focus more on the dissemination and sharing of narratives, supporting interactive tours and participation in the presentation process through digital means and new devices. In contrast, previous generations are more adapted to receiving unidirectional experience dissemination.

In terms of social consensus, Generation Z seeks similar values in family and community, holding a positive stance on strengthening both (Bresler, 2023). On key social and political issues, Generation Z shares many consensuses with the Millennials (Parker and Igielnik, 2020).

In terms of consumption concepts, Generation Z allocates more budget to spiritual needs, focusing on gaining meaning and enriching experiences (Koulopoulos, 2016), as well as convenience (Qing, 2022). Compared to previous generations, Generation Z grew up in a relatively stable social environment, with hardly any material difIiculties, and has always been more attentive to non-material consumption. Previous generations tend to give more attention and budget to traditional aspects of life such as food, clothing, housing, and transportation.

3.2 Existing Experiences and InRluencing Factors of Theatre Heritage

The existing theatre heritage primarily offers the public experiences through multifaceted contact with culture and history, and diverse participation in artistic activities. Theatre heritage presents a multidimensional experience of performance appreciation, where the architecture itself is a crystallization of aesthetics and a witness to history, carrying rich memories of cultural and artistic life. The architecture enhances performances and enriches their signiIicance. Visitors to theatres not only enjoy performances but also experience the architectural space and decorative styles, immersing themselves in historical and cultural atmospheres. For example, at London's Royal Opera House (Figure 3), audiences can enjoy splendid performances by The Royal Ballet and The Royal Opera, and also experience the evolution of history through the grand lobby, exquisite decorations, and modern renovations (Guachalla, 2017).

(Source: Author, 2023)

Figure 3 The main hall of Royal Opera House in London

Theatre heritage also provides participatory activities such as backstage tours, prop exhibitions, and even performance workshops, helping the public understand the theatre's history and operations, and learn about architectural styles and designs, thus forging a deeper cultural connection. For instance, London's Shakespeare's Globe Theatre offers performance workshops that allow the public to learn classical Shakespearean acting techniques while appreciating the charm of the theatre architecture (Pye, 2014).

Theatre heritage also serve educational and dissemination purposes. During visits, the public not only gains knowledge about architecture, history, and art but also becomes inspired to take interest and responsibility in preserving theatre heritage. By showcasing the technical and ethical challenges encountered in the conservation process of theatre buildings and introducing policies and funding sources, the public becomes aware of its complexities and importance, stimulating thoughts on theatre conservation strategies. For example, London's National Theatre (Figure 4) holds regular talks to display the theatre's historical evolution and production processes, offering Q&A sessions, and producing videos and podcasts to engage a wider audience in the conservation of theatre heritage and the creation of cultural works (National Theatre, no date).

4 National Theatre in London (Source: Author, 2023)

Theatre heritage also promote community gatherings. Many theatres serve not only as venues for performances but also as spaces for community activities and public discussions, making theatres the heart of the community and strengthening public identiIication with local identity and shared heritage, thereby enhancing public attention to societal issues beyond their usual perspectives. For example, London's Camden People's Theatre's Creative Families Programme is aimed at parents and children over Iive years old, involving them in arts and cultural activities. All activities are free and lead to a community café offering board games and craft activities (Camden People's Theatre, no date).

Figure

Factors inIluencing these experiences include policies, economics, social aspects, and technology. National and local government heritage conservation policies, funding programs, and related regulations determine the methods and priorities for conserving theatre architecture. Governments might promote repair and maintenance through funding support and tax incentives (Pickard, 2002). Such support not only helps maintain the physical state of the buildings but also ensures the continuity of cultural activities, thereby safeguarding public experiences. Economic prosperity can lead to increased government funding for cultural construction, including theatre preservation and cultural activities, allowing the public more budget and time to experience and consume, thus promoting a healthy industry development and growth, creating a positive cycle. Conversely, during economic downturns, funding for cultural needs might be cut Iirst. Public awareness can determine the level of engagement, and societies with a strong sense of cultural identity encourage public active participation in the conservation of theatre buildings, effectively overseeing government and institutions, and bringing a broader voice to promote the development of the conservation process. Technological advancements introduce new avenues for experiences, enabling experiences without physical intrusion, unrestricted by time and space, enriching the original forms of experience.

3.3 Changes in Experiences of Theatre Heritage

There has been a noticeable shift in how different generations perceive the value of theatre heritage, not only in terms of its physical and functional merits but also in its

cultural and social signiIicance. For previous generations, the value of a theatre heritage primarily resides in its historical and artistic importance. They tend to favour a traditional, live experience, emphasizing the originality and historical continuity of the architecture. They believe that the most important task in preserving theatre buildings is to maintain their original condition and restore any damage while preserving their original functions. To them, theatre heritage serve as a bridge between the past and present, crucial for transmitting cultural traditions and artistic values. They are more likely to support traditional restoration methods, such as using materials identical or similar to the original ones to maintain the building’s historical authenticity, and they oppose major physical transformations (Shannon, 2014).

In contrast, Generation Z has a broader and more modern understanding of the value of theatre heritage. While respecting history, they emphasize the multifunctionality and sustainability of the buildings. They believe that theatre heritage should not only preserve their cultural and historical value but also adapt to the practical needs of modern society, such as incorporating modern technology and providing spaces for diverse cultural activities. Furthermore, they place a greater emphasis on community and public engagement, viewing theatres not just as venues for watching performances but also as places for social interaction, education, and cultural exchange (Shannon, 2014). They stress the social function of theatre buildings, considering their value in terms of their contribution to society, such as fostering community cohesion and cultural diversity. Additionally, Generation Z increasingly prefers to watch performances through online platforms, a consumption mode that greatly exceeds the convenience and accessibility of traditional physical theatre

experiences, reducing time and costs (On The Stage, no date). However, the strong appeal of live attendance, as evidenced by the proportion of young audience members at theatres, suggests that online viewing is a complement rather than a substitute for live viewing.

This intergenerational shift not only reIlects changes in the socio-cultural background but also reveals differing expectations and needs regarding heritage conservation strategies. The conservative views of previous generations might sometimes limit the functional updates and social role expansion of buildings, while the open attitude of Generation Z, although increasing the social activity of theatre heritage, may also face risks of excessive commercialization and the loss of original cultural characteristics.

4 The Value and Display of Theatre Heritage

4.1 Sources of Theatre Heritage Value

From text to images to videos, from physical carriers to virtual media, information media have undergone democratization from production to consumption. Originally, due to the high production and usage costs of media such as bamboo slips and parchment scrolls, the content focused on high social value items, such as the Bible and laws. Today's internet literature, however, is readily accessible. The more complex the media, the less imagination the audience needs to use. For instance, Schopenhauer believed that music can stimulate the audience's imagination through hearing alone (Schopenhauer, 2012). Today, a vast amount of image and video media has lowered the threshold for consumer access. Artworks too have transitioned from being produced under the orders of palaces and nobility to becoming democratized with the rise of the bourgeoisie, affecting both the supply and demand sides. Duchamp was dissatisIied with previous media-Iirst artistic creation methods, prioritizing ideas and turning established rules upside down. The Impressionists began to focus on and depict the lives of ordinary people, breaking down barriers between the studio and real life. Braque and Picasso created collage and threedimensional assemblages, further proclaiming that modernist aesthetics could emerge from anything (Gompertz, 2013).

Theatres and cinemas, as media, also follow a trend of democratization. Their consumer groups have shifted from a minority of high-spending, high-taste individuals to a broader market dominated by commercially viable productions. The

fundamental reason for this transformation is the reduction in costs, market drivers, and an elevation in audience appreciation levels. However, unlike other categories, theatre works possess a unique sense of live experience. The reason for this sense of presence relates to the emergence of consciousness, which is embodied; indeed, because the body inIluences thought, each individual has independent thoughts. Consciousness detached from the body is incomplete. The body provides more channels for information input (Chatrath, 2023; Gupta, et al., 2021). Moreover, the audience’s experience of theatre heritage not only stems from the architectural spatial feel and the beauty conveyed by decorations but also includes projections of impressions of the performance. Theatres, as venues for performance, present life selections that are chosen, magniIied, and condensed. The audience, sharing the same space and time, feels and understands the work, thereby generating emotions and thoughts. Each performance is a unique creation co-constructed by actors and the audience (Fortier, 2016). Additionally, audiences have a more formal feeling towards theatres than other art performances, generally dressing more formally, adhering to start times, maintaining decorum, and applauding at curtain calls. Participants here create shared memories and impressions, forming a consensus about the theatre heritage.

Theatres, as witnesses to history, have documented cultural evolution and urban development, reIlecting the cultural spirit and social customs of the times. Often landmarks in their locales, theatre heritage involve far more Iinancial and design investment than ordinary buildings, with their styles and decorations representing the aesthetics and technology of the era. Theatre heritage also serve as venues for cultural exchange and social activities, spaces for public discussions, social

interactions, and cultural education, and are at the core of social and cultural life, playing a role in unifying the community. As centres of performing arts where various artistic forms converge, theatre heritage provide a stage for artists to showcase their talents and offer the public opportunities to encounter and appreciate art, enriching the spiritual lives of the public and driving the inheritance and innovation of culture and art. Therefore, as architectural entities, theatre heritage provide the audience with the most direct visual and spatial experiences; their functions in hosting performances and gatherings bring a sense of rarity and sanctity, making theatre heritage focal points of trust and consensus.

Figure 5 Sources of theatre heritage value (Source: Author, 2024)

Sources of theatre heritage value

4.2 Shift in Theatre Heritage Conservation Strategies

The live viewing experience, as a vital part of theatre heritage, seems, at least for now, best continued by maintaining the operational role of theatre venues. Technological advancements are key drivers of changes in theatre conservation strategies. Digital technology not only offers new methods and means for researching and preserving architectural heritage but also serves as an essential touchpoint for expanding public experience and understanding of such heritage. Increasing applications of digital technologies, such as 3D scanning and VR, allow for precise measurement and restoration of theatre architecture, enabling more accurate interventions on speciIic issues, simulation and rehearsal before restoration actions, thus reducing the potential errors and risks inherent in traditional processes (Li, et al., 2023). It is important to avoid the excessive use of digital technology, which can lead to deviations from reality and neglect the emotional connections that communal activities build, while also avoiding overreliance on technology at the expense of the cultural and historical value of physical buildings. Furthermore, detaching from physical building conservation may trigger issues of cultural identity and regional belonging, as buildings serve as carriers of historical memory and cultural identity, inherent to their locations. Detachment from speciIic geographic afIiliations might weaken social and community identity, leading to cultural alienation or misinterpretation. Shifts in aesthetic preferences also affect strategies; unlike the ornate styles favoured during the eras buildings were constructed, modern audiences tend to prefer a simpler, more modern style. However, caution is needed in selecting technologies and materials in renovations to avoid modern elements that disrupt the historical ambiance. Additionally, changes

in social values deeply inIluence preservation strategies; Generation Z emphasizes the openness and multifunctionality of buildings, favouring diversiIied uses of structures, not just as containers of history but also as spaces for social interaction, entertainment, and even creative workspaces (Aigwi, Filippova and Sullivan-Taylor, 2023). Globalization and the ensuing cultural integration provide newer generations with a broader cultural perspective and tolerance, thereby widening their acceptance of theatre renovations. Thus, conservation strategies should respect historical and cultural values while considering how to adapt to these new social functions, moderately remodelling theatre buildings, such as adding accessibility features and integrating new interactive technologies, to enhance social participation and adaptability, improving building usage efIiciency (Balzarotti and Fabris, 2020). It's crucial to balance preservation with modernization, ensuring that introduced facilities and technologies avoid damaging the architectural structure and style, and preventing excessive commercialization from eroding the artistic value of theatre heritage, maintaining and enhancing their cultural and educational functions while also keeping and increasing the attention and participation of Generation Z (Halu and Küçükkaya, 2016). More innovative and sensitive design strategies should ensure that new elements harmonize with existing structures, rather than simply covering or replacing them. If possible, reversible modiIications should be preferred, allowing for removal if technologies update or restoration to original conditions is needed. Environmental sustainability also poses new demands on theatre conservation strategies, particularly concerning Generation Z (Tyson, Kennedy and Funk, 2021). Past architectural conservation might have focused more on physical and visual restoration, but now there's also a need to consider building

energy efIiciency and environmental impact. This requires preservation strategies to be not only technically feasible but also environmentally friendly, potentially involving innovations in material selection and energy use. Finally, promoting multidisciplinary expert and stakeholder discussions is essential to comprehensively consider a building's cultural characteristics, historical value, and social functions, to develop widely beneIicial and forward-looking plans.

4.3 Theatre Heritage Conservation with New Technologies

New interactive exhibits or digital guide tools can both preserve the historical charm of theatres heritage and enhance their function as vibrant cultural spaces, boosting public support and interest in the conservation of historical buildings. Through AR and VR technologies, visitors can see architectural restorations, detailed analyses, and re-enactments of historical scenes, enriching their visiting experience and deepening their understanding of the architecture and its history, unbounded by geographical and physical conditions. (Osello, Lucibello and Morgagni, 2018) The environment created by virtual technologies introduce a nonlinear perception, where selective visual attention allows one to grasp the entire image but may overlook the details (Golubinskaya, 2016). However, virtual technologies might alter the authentic perception of theatre heritage, with overly idealized restorations potentially masking the historical authenticity due to technical limitations. In terms of performance presentation, the application of VR and AR offers a more immersive experience but still cannot fully compare to live performances; the impact of this technology remains to be observed. For example, real-time interactions between

actors and the audience, or live voting to alter the plot, often cannot be fully achieved through traditional theatrical performances and may pose a threat to live performances. (Baı́a Reis, António, and Mark Ashmore. 2022: 7-28.) Utilizing the advantages of immersive VR experiences in conjunction with focus groups allows stakeholders and experts to express their opinions and discuss different proposals for theatre architectural restoration or modiIication within VR, creating a more intuitive showcase of outcomes. (Stelzle and Noennig, 2019)

Blockchain's immutable nature can help record data and decisions regarding architectural conservation, enhancing the transparency of governmental operations and increasing government credibility, thereby empowering public oversight. AI has tremendous potential in recognizing patterns, designs, and text, as well as in automating simple and repetitive writing tasks, freeing up time from mundane activities (Spennemann, 2024). In theatre performances, AI can provide real-time, accurate subtitles, meaning that the barriers to spreading single-language works in live performance venues are broken, and works in minority languages can also have equal opportunities for dissemination and market access, representing cultural equity. In building tours, AI can translate introductions into different languages, saving translation costs and increasing accuracy, thus enhancing the visitor experience. AI's voice imitation capabilities can replace human guides and cover a wider audience. AI assistants can also distil information received by the public during visits, comparing it against visitors' previously trained personal models, and provide targeted, personalized presentations based on the existing knowledge level of the audience.

A promising direction is the experience of dream implantation, where most memorable dreams occur during the REM sleep phase. According to the network exploration to understand possibilities (NEXTUP) framework, dreams are experiences where the brain forms weak connections between the most intense experiences of the day and existing memories and knowledge (Zadra and Stickgold, 2021). Using targeted dream incubation (TDI) to tap into the rapid eye movement (REM) sleep phase (Horowitz et al., 2020) bypasses rational resistance during wakefulness, allowing for the playback of targeted information, bringing new experiences that integrate existing elements (Table 2).

Technology Application direction

AR and VR

Blockchain

Dream implantation

• Architectural restorations presentation

• Re-enactments of historical scenes

• Immersive performance

• Focus groups

• Record data and decisions

• Real-time, accurate subtitles

• Digital person guided tour

• Information processing assistant

• Hybrid experience that breaks physical limits

Table 2 Technology and application direction

(Source: Author, 2024)

The rapid development of technology does not fundamentally change the ways humans think or feel; the modes of conveying and displaying information evolve, but the human patterns of processing information remain constant. This is a crucial premise for assessing the impact of technological advancements. By appropriately leveraging new technologies, not only can the public's experience with theatre

heritage be enhanced, but it can also strengthen cultural exchanges and understanding across different age groups. This transformation in intergenerational experiences not only promotes the inheritance of theatre heritage but also provides a more diverse perspective and strategies for its conservation.

5. The Role of Social Media in Government-Public Interaction Strategies

5.1 Main Issues in Government-Public Interaction during Architectural Conservation

In the process of architectural conservation, the government should play a leading role as a public representative, responsible for formulating relevant laws, regulations, and standards. The government's authority involves designating and managing buildings of historical, cultural, and aesthetic value, including assessing the conservation value of buildings, developing protection measures, advancing conservation efforts, penalizing violations of relevant laws, and providing Iinancial support and technical guidance. The government's responsibilities also include establishing a transparent and open decision-making process, allowing full public participation, including collecting opinions during the planning phase and feedback during the decision-making stage (Stubbs and Thomson, 2016). Additionally, the government ensures the fairness and rationality of architectural conservation to prevent damage caused by conIlicts of interest such as commercial development. The public has the right to participate in and oversee the conservation process, including access to information about the building, the reasons and methods of conservation, project progress, and the ability to voice opinions and monitor implementation. The public also has the responsibility to actively participate in the conservation process and avoid damaging the protected buildings, and can spread the importance of architectural conservation through media (Glendinning, 2013).

The current main issue is the government's top-down policy implementation approach, which lacks timely and in-depth communication and consultation with stakeholders. When progress is hindered, public opinions are ignored, and policies are forcibly executed. This affects the acceptance and efIiciency of policy implementation, fails to consider the public's actual demands adequately, impacts the implementation of architectural conservation, and reduces public recognition of the conservation efforts (Yung and Chan, 2011). The public lacks sufIicient project information and expertise, limiting their understanding of architectural conservation to simple repairs and beautiIication of existing buildings. This scepticism or even resistance among the public can lead to excessive restoration of the original buildings. On social media, government posts are often biased towards unilateral propaganda and lack speciIic and in-depth information. Such posts generally focus on progress reports and results after the project's commencement, seldom covering the background of the project initiation, interpretation of relevant laws, and critical implementation milestones. This one-way, simplistic information dissemination fails to convey sufIicient project details, limiting public understanding and thought, and effectively gathering public opinions, reducing the possibility of policy feedback. Additionally, government accounts lack responses to the public, often providing only simple one-time replies or automatic responses, or no reply at all, lacking constructive interaction, failing to effectively utilize the interactive features of social media (Bertot, Jaeger and Hansen, 2012). The lack of professional perspective in public opinions also lacks professional guidance, and the unorganized collection of scattered public opinions. On social media, the public often expresses scattered, independent views lacking guidance and organization. Some of the

criticism is biased and emotionally charged, unrelated to professional judgments, actually hindering effective discussion and unnecessarily occupying public attention.

5.2 The Role of Social Media in Theatre Heritage Conservation

Globally, most adults use the internet, with the gap in usage across age groups narrowing (Wike et al., 2022). Social media serves as the most accessible channel for reaching a broad audience. The positive aspects include the enhancement of the speed and scope of information dissemination. News and events concerning heritage conservation can quickly garner international attention, sparking public interest and support for heritage sites located afar (O’Donnell, 2022). Increasingly, people are turning to social media platforms like TikTok for news (Matsa, 2023), which lowers the costs of spreading information and expands the channels and scope for public opinion acquisition. This enables governments to swiftly gather public opinions and demands, making interactions between the government and the public more convenient and extensive. Social media empowers every user with the right to post information, allowing the public to express opinions and emotions, and provides a platform for showcasing users’ creativity that is readily accepted (Vogels and Gelles-Watnick, 2023). Social media is widely regarded as having a positive impact on democracy (Wike et al., 2022). The public can monitor conservation projects and provide instant feedback on potential destructive actions or inappropriate conservation work. However, social media also has its limitations. The immediacy and visually oriented nature of social media tend to fragment and superIicialize the dissemination of

information, which may lead to the neglect of the deeper historical and cultural signiIicance of theatre heritage conservation. The strong visual orientation of social media, enhanced by advances in VR technology, could become more immersive, leading to the neglect of projects that lack visual appeal. The rapid iteration of trends and support for popular elements on social media might not align with the typically long-term nature of theatre heritage conservation projects, possibly conIlicting with stable needs. Whether short-term popularity can translate into long-term support is questionable, and public attention may become increasingly frivolous. Well-funded projects might invest more in promotion to increase visibility, potentially exacerbating disparities in public attention and budget allocation. The decentralization of content production also raises issues of authenticity, with varied quality of content leading to user concerns over the truthfulness, quality, biases, and manipulation of information (Luxuan Wang and Naomi Forman-Katz, 2024).

Incorrect information or overly simpliIied content can sometimes lead to public misunderstandings about architectural conservation, and concerns about potential echo chambers and marketing manipulation due to algorithm recommendations (Reisach, 2021).

5.3 Strategies for Government and Public Use of Social Media in Theatre Heritage Conservation

The government should establish specialized content teams, create dedicated accounts for theatre heritage conservation, and consider collaborations with professional media to enhance the depth and professionalism of published content,

focusing on the authority of the information. Before a project starts, relevant background materials, policy interpretations, and implementation challenges should be published; during the process, the latest progress should be shared; and after completion, follow-up reports should showcase the results. The content should not only focus on the project itself but also on displaying its multidimensional values, including economic, cultural, and social impacts, to enhance public functionality and garner understanding and support. Introducing and showcasing the latest technologies is also a way to attract public interest. Establish a dedicated team for collecting and responding to public opinions and feedback, integrating human and AI efforts (Goyal, Pandey and Jain, 2018), to address concerns promptly. It's also important not to neglect those who do not frequently use social media; their opinions can be gathered through ofIline visits and surveys. Content should be tailored according to the characteristics of different social media platforms, considering the best timing and frequency for posts.

In terms of presentation, emphasis should be placed on visual and video formats, as social media platforms for videos and images achieve signiIicantly higher user engagement compared to others. Theatre heritage often features elaborate styles and decorations, and its performances have a solid basis for dissemination. Sharing images and videos or streaming live can boost public interest and attention, particularly focusing on rapidly growing short-video platforms. Content should be visually processed using charts, diagrams, and illustrations, and various methods like online exhibitions, interactive displays, and virtual showcases should be employed to enhance transparency.

For community building, social media tags and discussion group features can be used to create communities around architectural conservation projects, inviting public participation in discussions on the importance and speciIic measures for theatre heritage conservation. Live streaming can encourage the public to express their needs and suggestions, fostering community interaction and establishing a topdown conservation momentum. Combining online and ofIline methods, experts and scholars from the industry can be invited to analyse cases, interpret policies, showcase technologies, and answer public questions, creating a diverse communication platform that enhances the public’s architectural conservation knowledge and discourse quality. Professional terms should be explained to avoid jargon and ensure discussions are universally comprehensible, allowing the public to quickly and accurately understand at different levels. It's also crucial to foster public technical and media literacy to jointly combat misinformation (Entsminger et al., 2018). The government can also organize crowdfunding for speciIic projects, ensuring transparent use of funds and updating project progress, enhancing public trust and expanding funding sources.

Regarding public opinion monitoring, the government should stay informed about social opinions, identify and respond to negative information effectively, handle public sentiment crises, and maintain the government's image and reputation. Attention should be paid to protecting and respecting diverse voices, avoiding the neglect of minority groups. In collaboration with platforms, cautious participation in content Iiltering mechanisms is advised to automatically hide inappropriate comments (Thompson, 2017).

• Enhance the depth and professionalism of content

• Full lifecycle coverage of projects

• Tailor content for different platforms

Establish content teams

Focus on images and videos

• Handle content in an intuitive way

• Explore interactive displays and virtual exhibitions

• Collect and respond to public opinions

• Combine offline visits and surveys

Establish public interface teams

Create communities

• Invite public in discussions

• Combine online and offline

• Invite industry experts and scholars

Figure 6 Strategies for Government

(Source: Author, 2024)

The public can share photos or videos of theatre heritage via smart devices on the internet, documenting the current state of the buildings and expressing their views, creating public pressure for conservation measures. Experts and enthusiasts can share knowledge about architectural culture and history through texts, pictures, or videos, enhancing the public's foundation in architectural conservation and awareness. For speciIic projects, the public can use tags and discussion groups to voice concerns and questions and engage in discussions, aiming to attract the attention and response of the government or responsible individuals.

5.4 The Potential of AI in Social Media Interaction for

Theatre Heritage Conservation

In the use of social media by governments, AI can identify and predict public interest and trends in theatre heritage conservation through data analysis, such as identifying individual emotions using Natural Language Processing (NLP) and Computer Vision (CV). Governments can thus ascertain public interest or controversy in speciIic subdomains and projects, enhancing the precision and relevance of policy making and implementation (SuIi and Khalil, 2022). This enables efIicient process and task automation (Ojo, Mellouli and Ahmadi Zeleti, 2019), allocating more resources in key areas, and increasing promotion and discussion on controversial issues (Androutsopoulou et al., 2019). AI can also provide personalized push notiIications based on public historical behaviour, delivering information that matches the knowledge level of users in different areas of theatre heritage conservation. However, it is essential to avoid deviating from core indicators, such as overly focusing on public satisfaction at the expense of actual project outcomes. Efforts should be made to prevent the creation of information silos, limiting public attention to broader area projects and diverse understanding. Vigilance is needed regarding potential ethical issues with AI in the context of theatre heritage, such as improper understanding leading to misinformation, with strict regulation of data and algorithms and timely accuracy checks (Zweig, Deussen and Krafft, 2017). Protecting public personal data security, ensuring data anonymization, and preventing data leaks and misuse are also critical. For the public, AI can help extract key information in the Iield of theatre heritage conservation and speciIically enhance their understanding of the issues (Anderson, Faverio and

Gottfried, 2023). AI can also train proxy assistants for the public, using historical data and decisions to understand public preferences, aiding them in decisionmaking and voting on theatre heritage conservation issues.

6 Conclusion

The study highlights the diversity of theatre heritage experiences, which differ from other heritage buildings. These range from watching performances and experiencing the cultural-historical atmosphere to participating in interactive activities, listening to historical and artistic lectures, and fostering community spirit.

Emerging digital recording and presentation tools bring both opportunities and challenges to the conservation and experience of theatre heritage. Balancing the conservation of core heritage values while utilizing new technologies and adapting to new concepts requires steady and ongoing contemplation. It is crucial to avoid being swayed by the virtual realities enabled by technology while maintaining connectivity and accessibility of theatre heritage for all generations.

Previous generations view the value of theatre heritage primarily in terms of their historical and artistic signiIicance, emphasizing traditional live experiences and tending to maintain the originality and historical continuity of the buildings. They emphasize using original materials for restoration to maintain historical authenticity. In contrast, while respecting history, Generation Z emphasizes the multifunctionality and sustainability of theatre heritage, believing that theatres should adapt to modern societal needs, such as incorporating modern technological facilities and providing diverse cultural activity spaces. They place greater importance on community and public engagement, viewing theatre heritage as venues for social, educational, and cultural exchanges. They emphasize the social function of theatre heritage, believing their value lies in their contribution to society, such as enhancing community cohesion and cultural diversity. They tend to watch

performances online through platforms, and while this mode is convenient and easily accessible, live experiences still retain their appeal.

With the widespread use of social media, the government needs to establish professional operating teams to select and present content tailored to the characteristics of different platforms. Given the signiIicant growth in usage rates of short video and image platforms, resources should be heavily invested there. Proactively use app features to create harmonious interactive communities with the public, invest in corresponding talents and resources to cultivate the public's literacy and knowledge of theatre heritage conservation, and respond professionally and promptly to public opinions. Additionally, the risks of social media chasing trends and fragmented information dissemination must be mitigated. The public should also actively use social media as a tool to communicate with the government and achieve oversight.

As for the new wave brought by AI, both the government and the public should strive to adapt and learn, allowing technology to serve humanity and progress through the process rather than remain passive observers. Its tremendous potential may reshape all Iields, and efforts should be made to implement technology quickly to beneIit more people while controlling risks and preparing contingency plans.

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