长久以来，戏剧艺术与社会语境保持着动态的平衡关系，通过拓展自身的边界不断自我革新，积极地回应着时代。随着后现代主义的发展，后戏剧剧场的影响力逐渐增强。在后戏剧语境的影响下，沉浸式戏剧作为延伸自环境戏剧的新型剧场应运而生，沉浸式悲剧《不眠之夜》以其显著的后戏剧特征在这一浪潮中脱颖而出。在本文中，笔者将从后戏剧语境出发，透过沉浸式戏剧《不眠之夜》中的“剧”与“场”，探讨悲剧之“境”的生成。

1999年，雷曼的著作《后戏剧剧场》问世，首次提出了“后戏剧剧场”这一概念，在后现代主义的影响下，后戏剧表现出了与传统戏剧显著的区别。从文化语境上看，后现代主义以后结构主义为哲学基础，在戏剧艺术上则映射为对现代主义和传统戏剧的解构及反叛，从而表现出非线性、空间化、反文法、重意象等特征。这样的审美逻辑和哲学内涵不可避免地对后戏剧的建构起到了影响。从剧场语境上看，后戏剧的时代语境造就了具有独立性的新型剧场，并通过这种新型的剧场实践对布莱希特和阿尔托这两大现代主义戏剧理论作出了当代式回应。而沉浸式戏剧更是在辩证继承这两大理论的基础上展现出了新型剧场的典型特质。其中体现出的反文本特征、对时空话语的重构，以及对多元化媒介的运用均在潜移默化中加深着观演者的沉浸体验。

沉浸式戏剧构建沉浸之境的过程是复杂的，笔者尝试通过对《不眠之夜》戏剧结构及观演体验的剖析，借由“剧”与“场”的表达，厘清并总结出其沉浸之境的结构及特点。一方面，戏剧环境与剧场物境构成了向外观的感性感知；戏剧情境与个体心境构成了向内观的精神意识。而感性感知和精神意识则共同构成了沉浸之境的独特精神现象，显现出一种“升华”和“沉沦”的精神意象。另一方面，环境和情境组成了客观的戏剧创作之境，物境和心境则组成了主观的审美接受之境。在这样的交互作用下，“升华”与“沉沦”交织共生，观演双方得以融入沉浸之境。二者共同经验着沉浸式悲剧中狂欢、疯癫、毁灭的历程，进而深入领会剧场意象中的精神气质，这一过程不仅回应了布莱希特的追问和阿尔托的批判，更超越了戏剧文本及剧场所提供的“状态”的范畴，实现了一种具有后戏剧特征的“剧”与“场”的重塑。

《不眠之夜》通过在升华中抵达“梦境”以体现日神精神，在沉沦中抵达“醉境”以体现酒神精神，又将二者打破，以达成悲剧之境的生成。而观众在沉浸中体验这一过程，在出境与入境中不断反复，从而体会“境中之境”及“境外之境”，产生新的体验和思考。在这种对立统一中形成了一种超验的“理念之境”，这“理念之境”亦是超个体、超时间、超验的“悲剧之境”。此境中蕴含着永恒生命和阿尔托意义上“残酷”力量，它能够穿越时空，超越存现，抵达人类的精神困境，从而延展悲剧之境的边界。

For a long time, theater art has maintained a dynamic and balanced relationship with the social context, constantly reinventing itself by expanding its boundaries, and actively responding to the times. With the development of postmodernism, the influence of post-drama theater has gradually increased. Under the influence of post-dramatic context, immersive theater as a new type of theater extending from environmental theater comes into being, and the immersive tragedy Sleepless Night stands out in this wave with its significant post-dramatic characteristics. In this paper, the author will start from the post-theater context to explore the generation of the "situation" of tragedy in the immersive theater Sleepless Nights.

In 1999, Lehman's book Post-Dramatic Theater came out, which first put forward the concept of "post-dramatic theater". Under the influence of postmodernism, post-dramatic theater has shown a significant difference from traditional theater. From the cultural context, postmodernism takes post-structuralism as the philosophical basis, which is mapped as a deconstruction and rebellion against modernism and traditional drama in dramatic art, thus showing such characteristics as non-linearity, spatialization, anti-grammar, and emphasis on imagery, Such aesthetic logic and philosophical connotations have inevitably influenced the construction of post-theater. From the context of theater, post-drama has created a new type of theater with independence through the interaction between "drama" and "field", and has responded to the two major modernist theories of Brecht and Aalto through this new type of theater practice in a contemporary way. The immersive theater, based on dialectical inheritance of these two theories, brings out the spirit of post-theater to the extreme. The characteristics of anti-text, the reconstruction of space-time discourse, and the use of diversified media have all deepened the immersive experience of the audience subtly.

The process of constructing an immersive environment in immersive theatre is complicated. The author tries to clarify and summarize the structure and characteristics of the immersive environment of Sleepless Night through the analysis of the structure of the play and the experience of watching the play. On the one hand, the theatrical environment and the physical environment of the theater constitute the perceptual perception of he exterior; the theatrical situation and the individual's state of mind constitute the spiritual consciousness of the interior. The perceptual perception and spiritual consciousness together constitute the unique spiritual phenomenon of the immersed realm, showing a kind of "sublimation" and "sinking" spiritual imagery. On the other hand, the environment and situation constitute the objective realm of dramatic creation, while the physical and mental realms constitute the subjective realm of aesthetic acceptance. It is in the intertwined and symbiotic relationship between "sublimation" and "sinking" interaction, that both the audience and the performers can integrate into the immersive realm. Both of them experience the course of carnival, madness,destruction in the immersive tragedy, and then deeply understand the spiritual temperament of the theater's imagery, a process that transcends the scope of "state" provided by the dramatic text and the theater, and realizes a kind of post-dramatic reshaping.

Sleepless Night embodies the spirit of the sun god by arriving at the "dream state" in sublimation, and the spirit of the wine god by arriving at the "drunken state" in sinking, and then breaks both of them to reach the generation of the tragic state. The audience experiences this process in immersion, repeating it over and over again in the exit and entry, thus experiencing "the realm within the realm" and "the realm outside the realm," and generating new experiences and thoughts. In this unification of opposites, a transcendental "realm of ideas" is formed, which is also a transcendental "realm of tragedy" that is beyond the individual, beyond time, and experience. This "realm of ideas" is also the "realm of tragedy", which is super-individual, super-temporal, super-experimental. This realm contains eternal life and the power of "cruelty" in the sense of Aalto, which can travel through time and space, transcend the present and arrive at the spiritual dilemma of human beings, thus extending the boundary of the realm of tragedy.