A Study on the Reality of Theatrical Scene Backgrounds in Egyptian Independent Theatre and the Potential of Projection Mapping
DOI:
https://doi.org/10.37134/kupasseni.vol14.1.7.2026Keywords:
Projection Mapping, Scenic Design, Independent Theatre, Egyptian Theatre, Cultural Palaces, Audience Engagement, Spatial Constraints, Gillette’s Scenic Design Theory, Digital Scenography, Theatre Technology, Cost-EfficiencyAbstract
This study addresses a critical gap in Egyptian independent theatre research concerning the lack of empirically grounded evaluation of scenic background limitations and the applied potential of projection mapping as a digital scenography strategy. The study investigates three core dimensions: cost efficiency, scene transition time, and audience engagement. It asks: (1) What are the primary operational challenges of traditional scenic backgrounds in Egyptian independent theatre? (2) To what extent can projection mapping improve production efficiency and audience immersion? (3) How does digital scenography align with contemporary scenic design theory? A convergent mixed-methods design was employed (n = 600 survey respondents; 15 expert interviews). Statistical analysis showed significant positive correlations between cost constraints and support for projection mapping (r = .66, p < .001) and between transition inefficiency and digital adoption preference (r = .71, p < .001). Comparative production modeling indicated mean cost reductions of 66% and transition time reduction of 80%. The study contributes theoretically by operationalizing Gillette’s Scenic Design framework within digital scenography and empirically by providing large-sample stakeholder data from an under-researched theatre ecosystem. Findings position projection mapping as a structurally transformative scenographic model rather than a merely technical enhancement.
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