20世纪60年代以美国戏剧家理查.谢克纳为代表的“环境戏剧理论”打破了传统剧场舞台与观众厅相对独立的规则，重新定义了观众与表演者之间的关系。演员的表演和观众的观看在同一空间内不分彼此地发生，观众可以多空间观看演出、多形式参与演出、多方位体验演出。20世纪初，以英国的Punchdrunk公司的《sleep no more》为标志的“沉浸式戏剧”将环境戏剧发展升级，演出中观众随着戏剧线路穿梭在多个不同的、完全开放的场景空间，身临其境地沉浸在表演空间中，甚至可以参与其中的表演。由于“沉浸式戏剧”多样化发展，承载此类戏剧的“沉浸式剧场”也面临着多样化设计需求。首先，此类剧场不能用统一的空间尺度、组织方式和运营模式对应不同的剧目内容；其次，此类戏剧的创作周期往往是剧场的创建周期。于是，无论是为空间“定制”戏剧，还是为戏剧“定制”空间，甚至为某一戏剧创作团队“定制”设计剧场及建造流程，“定制”成为这一类型剧场设计的重要设计策略。在国家大力发展文化产业，文化产品快速迭代，体验式经济盛行的背景下，沉浸式戏剧发展愈加多元，对应的剧场建设也得到飞速发展。但由于一些业主和设计者缺乏对“沉浸式剧场”的深刻理解，不了解设计中面临的一系列复杂且不断变化的现实问题，导致项目空间使用效率低下、无效成本投入较高、建设周期拖沓、演出合成推进不利等现象频发，最终造成时间和建造成本的浪费。本文借助对只有峨眉山云之上剧场定制设计的实践与研究，总结沉浸式剧场设计独有的特点及定制化的设计策略、设计要点和项目设计管理方式要点，希望对 “沉浸式剧场”的创建起到借鉴及参考意义。

In the 1960s, the theory of environmental drama, represented by American dramatist Richard Scheckner, broke the traditional rule of relatively independent stage and auditorium, and redefined the relationship between audience and performer. The performance of the actors and the audience's watching happen in the same space. The audience can watch the performance in multiple spaces, participate in the performance in various forms and experience the performance in various aspects. At the beginning of the 20th century, the "Immersion Drama" marked by "sleep no more" of Punchdrunk company in Britain upgraded the development of environmental drama. During the performance, the audience shuttled through different and completely open scene spaces along with the drama line, immersing themselves in the performance space and even participating in the performance.Due to the diversified development of "Immersive Theatre", the "Immersive Theatre" bearing such drama is also facing diversified design requirements. First of all, this kind of theater cannot use a unified space scale, organization and operation mode to correspond to different drama contents; secondly, the creation cycle of such drama is often the creation cycle of theater. Therefore, whether it is to "Customize" drama for space, or "Customize" space for drama, or even "Customize" Theater Design and construction process for a drama creation team, "Customization" has become an important design strategy for this type of theater design.Under the background of the country's vigorous development of cultural industry, the rapid iteration of cultural products and the prevalence of experiential economy, the development of immersive drama is becoming more and more diversified, and the corresponding theater construction is also developing rapidly. However, some owners and designers do not have a deep understanding of the "Immersive Theater" and a series of complex and constantly changing problems in the design. In the process of project design and construction, the low efficiency of space use, the high input of invalid cost, the delay of construction cycle and the unfavorable performance synthesis promotion occur frequently, resulting in waste of time and construction cost.Based on the practice and research on the customized design of Emei cloud theater, this paper summarizes the unique characteristics of immersion theater design and the strategy of customized design, the key of design and the key of design management. Provides the reference for the creation of "immersion theater".