科技劇院作為當代藝術形式的表現形式之一，旨在讓參與者參與支持製作人意圖的環境。此戲劇類型的表演，不僅提供了一個不同於傳統的敘述，更使觀眾有時被認定為參與者，將其吸引在身臨其境的設計中支持特定場地的表演性展演，促使參與者在某種程度上需要與演員或敘事者進行互動。正是此種意圖，使人們瞭解到科技劇場橫跨了所有藝術形式，並試圖為觀眾提供一種比表面價值更深層之象徵意義的「此有」的體驗。本文以王俊傑的三階段大型跨領域科技劇場創作—《萬有引力的下午》、《罪惡之城》與《索多瑪之夜》為研究主體，從作品展現的主題與內涵探究科技劇場的多元形貌。

Techno-theatre has emerged as a significant contemporary art form, and aims to engage participants in an immersive theatrical space to enhance the intentionality of the producer. This new form of theatrical performance offers not only an alternative narrative, in which audiences are sometimes included as participants, but its immersive design in techno-theatre, with the aim of engaging visitors, has also been used to support a site-specific performance-exhibition, where audiences are somehow required to interact with the actors and narrative. It is this intention that defines technotheatre across all art forms that aim to offer audiences an experience of“being-inthe- world,”which may be on a more intellectual and possibly symbolic level than its surface value. This research attempts to reveal the nature and characteristics of techno-theatre by analyzing contemporary new media artistic-scholar WANG Jun Jieh's three chronological masterpieces ––L'Après-midi de la Gravité (2010), Sin City (2013), and The Night of Sodom (2015) –– in order to comprehend the multiplicity and transformation of contemporary theatre.