The paper begins by tracing the rise of immersive theatre in Thailand, noting the contrast between immersive theatre experiences (often site-specific and technology-free) and other immersive events (frequently utilizing VR, AR, and MR). The authors highlight the ambiguity surrounding the definition of "immersive" and the need for a clearer, more comprehensive framework. The introduction explores various definitions of immersion across different fields—gaming, theatre, and digital culture—pointing out inconsistencies and the resulting fragmented understanding. The authors then introduce their aim: to build on existing research by incorporating theatrical perspectives and developing a revised conceptual framework applicable across disciplines. This framework, they argue, will benefit creators by providing guidelines, participants by setting expectations and enhancing comprehension, and academics by offering evaluation criteria.

The paper reviews existing literature on immersive theatre, highlighting the work of scholars like Josephine Machon, Adam Alston, and Rose Biggin, who emphasize audience participation and the shift from passive spectatorship to active engagement. It discusses the historical roots of immersive techniques in ancient rituals and experimental theatre movements of the 20th century, acknowledging the contributions of figures like Antonin Artaud and Augusto Boal. The review also touches upon the debate surrounding the novelty of immersive theatre, with some arguing that its participatory aspects are not entirely new and that the term "immersive" has become overused and lacks a precise definition. The discussion includes the integration of immersive technologies (VR, AR, MR) into theatre and their impact on the definition and experience of immersion. Furthermore, the paper examines existing frameworks for immersive experiences, specifically highlighting the four-element framework proposed by Han, Melissen, and Haggis-Burridge (systems, spatial, social/empathic, and narrative/sequential immersion), which focuses on design through technology. The authors acknowledge this framework's limitations regarding its applicability to site-specific theatre experiences and its limited consideration of theatrical perspectives. The review also analyzes different perspectives on immersion, including Machon's categories (absorption, transportation, and total immersion), and Jarvis's concept of "theatres of mislocalized sensation," which emphasizes bodily transference and the use of immersive technologies for achieving a deeper level of immersion.

The paper's methodology is primarily a literature review and conceptual framework development. The authors synthesize existing research on immersion in various fields, particularly theatre and digital media, to address the lack of a unified definition of immersion and to create a more comprehensive framework. They draw upon qualitative data from their own observations of immersive events in Thailand and critical analyses of existing literature related to immersive experiences in theatre, gaming, and digital communications. The authors use a comparative approach, examining various existing conceptualizations of immersion and identifying their strengths and weaknesses. This analysis informs their development of a revised framework. The paper does not involve original empirical data collection, but rather a systematic integration and synthesis of existing research to build a novel theoretical model.

The paper's main finding is a revised conceptual framework for immersive experiences that adds "bodily immersion" as a crucial fifth element alongside the four components identified in previous research (systems, spatial, social/empathic, and narrative/sequential). Bodily immersion is defined as the sensation of bodily transference, creating illusory ownership over virtual bodies, and activating *praesence* (a heightened awareness of sensory involvement). The authors argue that this element is especially important for achieving "total immersion" as described by Machon. The framework is presented visually (Figure 1) and explained in detail, with examples drawn from various applications, including video games, museums, theme parks, and immersive theatre productions (e.g., Punchdrunk's 'Believe Your Eyes,' Jane Gauntlett's 'In My Shoes,' Layered Reality's 'The Gunpowder Plot'). The authors emphasize that while many experiences label themselves "immersive," achieving true total immersion often requires the use of immersive technologies, particularly VR, to facilitate bodily immersion and the experience of bodily transference. The framework is intended to be applicable across disciplines, providing guidelines for the design and evaluation of immersive experiences in various contexts. The paper also highlights the ongoing evolution of immersive theatre, from site-specific physical experiences to the integration of VR and other digital technologies.

The revised framework addresses the research question by providing a more comprehensive and nuanced understanding of immersion. By incorporating perspectives from theatre and performance studies, the framework overcomes the limitations of existing models that primarily focus on technological aspects of immersion. The inclusion of bodily immersion expands the understanding of what constitutes a truly immersive experience, going beyond sensory engagement to encompass a deeper, more embodied interaction with the virtual or imagined environment. The discussion emphasizes the significance of the framework for various stakeholders: creators can use it as a design guideline; participants can understand better what to expect; and researchers can use it for analyzing and evaluating immersive experiences. The authors acknowledge that the framework's emphasis on bodily immersion and the use of VR may exclude some site-specific performances, but they argue that this focused approach offers a more precise definition of "total immersion." The significance of the study lies in its contribution towards a more unified and comprehensive conceptualization of immersion, applicable across multiple fields.

The paper concludes by emphasizing the contribution of its proposed five-element framework for immersive experiences. This framework integrates various perspectives on immersion, adding the crucial element of bodily immersion, which often necessitates the use of VR technology. The authors highlight the evolution of immersive experiences, demonstrating the increasing integration of theatre and immersive technologies. They suggest that this trend signifies a profound media revolution, integrating physical and virtual worlds and offering significant potential beyond entertainment, impacting diverse fields like education, healthcare, and tourism. Future research could explore the application of this framework in various contexts and investigate the long-term effects of immersive experiences on individuals and society.

The study's main limitation is its reliance on a literature review and conceptual analysis; it does not include original empirical research to test the proposed framework. Further research is needed to validate the framework empirically and explore its applicability in various contexts. The emphasis on VR technology for achieving bodily immersion might be considered a limitation by those who prioritize site-specific, technology-free immersive experiences. Additionally, the focus on the authors' experiences in Thailand might limit the generalizability of certain observations.