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題名 基於手勢追蹤進行互動的VR沉浸式劇場設計：以《Silent Restaurant》創作為例
Gesture-based Interaction for Immersive VR Theatre Design: A Case Study of 'Silent Restaurant' Creation
作者 黃詠瑞
Huang, Yong-Ruei
貢獻者 李蔡彥<br>陳聖智
Li, Tsai-Yen<br>Chen, Sheng-Chih
黃詠瑞
Huang, Yong-Ruei
關鍵詞 虛擬實境
沉浸式劇場
手勢辨識
手勢控制設計
劇場設計
互動流程設計
觀眾行為研究
Virtual reality
Immersive theater
Gesture recognition
Gesture-based interaction design
Theatrical design
Interaction flow design
Audience behavior research
日期 2025
上傳時間 4-Aug-2025 15:50:46 (UTC+8)
摘要 本研究旨在探討手勢辨識技術於虛擬實境（VR）沉浸式劇場中的應用可行性，並透過原型作品《Silent Restaurant》的創作與體驗展示，檢視手勢互動能否成為參與觀眾與劇情之間的溝通媒介與橋梁。作品以設計簡單的靜態手勢（姆指向上／下）讓觀眾與角色互動，並藉由觀眾的選擇推動劇情發展，進而實踐以手勢互動取代傳統選單的VR沉浸式劇場作品概念。 本研究透過實作測試、觀察記錄與訪談回饋進行資料蒐集與分析，結果顯示作品中的手勢互動具備良好的互動效果並能夠提升沉浸感，觀眾大多表示互動本身是有趣的且都能夠在初次體驗中迅速掌握操作方式，並完成多次有效互動，展現出肢體互動結合虛擬敘事的可行性。 然而，研究亦指出作品中的系統回應節奏、手勢辨識穩定性與視覺風格及音效等面向仍有進一步優化空間。總結而言，本研究初步驗證了手勢辨識技術應用於沉浸式劇場作品的創作可行性，並藉由實際設計發覺挑戰與改進方向，期望作為未來結合自然互動與數位敘事之相關研究與創作的參考基礎。
This study explores the feasibility of applying gesture recognition technology in virtual reality (VR) immersive theater. Through the creation and experiential demonstration of the prototype Silent Restaurant, the research examines whether gesture-based interaction can serve as an effective medium and bridge between the audience and the narrative. The work adopts simple static gestures (e.g., thumbs up/down) to facilitate audience-character interaction and advances the plot based on the audience’s choices, thereby realizing the concept of replacing traditional menus with gesture-based interaction in VR immersive theater experiences. The study collects and analyzes data through implementation testing, observational records, and interview feedback. Results indicate that the gesture interaction in the prototype demonstrates strong interactive potential and enhances the sense of immersion. Most participants found the interaction enjoyable and were able to quickly grasp the controls during their first experience, completing multiple successful interactions. These findings support the viability of integrating physical gestures with virtual storytelling. However, the research also identifies areas for improvement, including system response timing, gesture recognition stability, visual style, and sound design. In conclusion, this study offers preliminary validation of the feasibility of incorporating gesture recognition into immersive theater productions and highlights key challenges and future directions. It aims to serve as a foundational reference for future works combining natural interaction with digital narratives.
參考文獻 文獻引用 Liang, H., Chang, J., Ismail, K., Zhang, J., & Jiao, P. (2017). Hand gesture-based interactive puppetry system to assist storytelling for children. The Visual Computer 33, 517–531. https://doi.org/10.1007/s00371-016-1272-6 Buckingham, G. (2021). Hand Tracking for Immersive Virtual Reality: Opportunities and Challenges. Front. Virtual Real. https://doi.org/10.3389/frvir.2021.728461 Varela-Aldás, J., Buele, J., López, I., & Palacios-Navarro, G. (2023). Influence of Hand Tracking in Immersive Virtual Reality for Memory Assessment. International Journal of Environmental Research and Public Health, 20(5), 4609. http://dx.doi.org/10.3390/ijerph20054609 Kang, J., & Lim, J. (2018). Storytelling-Based Hand Gesture Interaction in a Virtual Reality Environment. Advances in Intelligent Systems and Computing, 608. Springer, Cham. https://doi.org/10.1007/978-3-319-60639-2_17 Biggin, R. (2017). Interactivity and Immersion: Theoretical Approaches. Immersive Theatre and Audience Experience, Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-62039-8_2 White, G. (2012). On Immersive Theatre. Theatre Research International, 37(3), 221-235. https://doi:10.1017/S0307883312000880 Adam, A. (2017). Beyond Immersive Theatre. Palgrave Macmillan London. https://doi.org/10.1057/978-1-137-48044-6 Harada, Y., & Ohyama, J. (2019). Spatiotemporal Characteristics of 360-Degree Basic Attention. Sci Rep, 9, 16083. https://doi.org/10.1038/s41598-019-52313-3 Kshitij, D., Varad, M., Kaustubh, M., Amaan, N., & Archana, G. (2023). Study and Survey on Gesture Recognition Systems. ICCUBEA, IEEE 2023, 1-6. https://doi.org/10.1109/ICCUBEA58933.2023.10392214. Melo, M., Gonçalves, G., Vasconcelos-Raposo, J., & Bessa, M. (2023). How Much Presence is Enough? Qualitative Scales for Interpreting the Igroup Presence Questionnaire Score. IEEE Access, 11, 24675-24685. https://ieeexplore.ieee.org/document/10064261 Roth, D., & Latoschik, M. E. (2020). Construction of the Virtual Embodiment Questionnaire (VEQ). IEEE Transactions on Visualization and Computer Graphics, 26(12), 3546-3556. https://ieeexplore.ieee.org/document/9199571 John, B. (1995). SUS: A quick and dirty usability scale. Usability Eval. Ind.. 189. https://www.researchgate.net/publication/228593520_SUS_A_quick_and_dirty_usability_scale John, B. (2013). SUS: a retrospective. Journal of Usability Studies. 8, 29-40. https://www.researchgate.net/publication/285811057_SUS_a_retrospective Mandell, J. (2016). Immersive Theatre, Defined. https://howlround.com/immersive-theatre-defined Warren, J. (2017). Creating Worlds: How to Make Immersive Theatre. 虛擬真實: 沉浸式劇場創作祕笈（杜秀娟譯）。書林。 Thiago, R., & Sergio, M. (2010). An Analysis of Features for Hand-Gesture Classification. 17th International Conference on Systems, Signals and Image Processing. 楊奇珍（2015）。以體感方式參與敘事的3D互動敘事系統，國立政治大學資訊科學系未出版碩士論文。 作品參考 ender Claws. (2019). The Under Presents (Windows 10 ed.). Tender Claws. https://tenderclaws.com/theunderpresents Tender Claws. (2020). The Under Presents: Tempest! (Windows 10 ed.). Tender Claws. https://tenderclaws.com/tempest K'ARTS AT. (2020). Scarecrow. TAHI. SCARECROW VRC. https://www.scarecrowvrc.com 驚喜製造（2019）。微醺大飯店。驚喜製造。 https://www.surpriselab.com.tw/thegreattipsy2019/index.html
描述 碩士
國立政治大學
數位內容碩士學位學程
110462018
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110462018
資料類型 thesis
dc.contributor.advisor 李蔡彥<br>陳聖智zh_TW
dc.contributor.advisor Li, Tsai-Yen<br>Chen, Sheng-Chihen_US
dc.contributor.author (Authors) 黃詠瑞zh_TW
dc.contributor.author (Authors) Huang, Yong-Rueien_US
dc.creator (作者) 黃詠瑞zh_TW
dc.creator (作者) Huang, Yong-Rueien_US
dc.date (日期) 2025en_US
dc.date.accessioned 4-Aug-2025 15:50:46 (UTC+8)-
dc.date.available 4-Aug-2025 15:50:46 (UTC+8)-
dc.date.issued (上傳時間) 4-Aug-2025 15:50:46 (UTC+8)-
dc.identifier (Other Identifiers) G0110462018en_US
dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/158789-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 數位內容碩士學位學程zh_TW
dc.description (描述) 110462018zh_TW
dc.description.abstract (摘要) 本研究旨在探討手勢辨識技術於虛擬實境（VR）沉浸式劇場中的應用可行性，並透過原型作品《Silent Restaurant》的創作與體驗展示，檢視手勢互動能否成為參與觀眾與劇情之間的溝通媒介與橋梁。作品以設計簡單的靜態手勢（姆指向上／下）讓觀眾與角色互動，並藉由觀眾的選擇推動劇情發展，進而實踐以手勢互動取代傳統選單的VR沉浸式劇場作品概念。 本研究透過實作測試、觀察記錄與訪談回饋進行資料蒐集與分析，結果顯示作品中的手勢互動具備良好的互動效果並能夠提升沉浸感，觀眾大多表示互動本身是有趣的且都能夠在初次體驗中迅速掌握操作方式，並完成多次有效互動，展現出肢體互動結合虛擬敘事的可行性。 然而，研究亦指出作品中的系統回應節奏、手勢辨識穩定性與視覺風格及音效等面向仍有進一步優化空間。總結而言，本研究初步驗證了手勢辨識技術應用於沉浸式劇場作品的創作可行性，並藉由實際設計發覺挑戰與改進方向，期望作為未來結合自然互動與數位敘事之相關研究與創作的參考基礎。zh_TW
dc.description.abstract (摘要) This study explores the feasibility of applying gesture recognition technology in virtual reality (VR) immersive theater. Through the creation and experiential demonstration of the prototype Silent Restaurant, the research examines whether gesture-based interaction can serve as an effective medium and bridge between the audience and the narrative. The work adopts simple static gestures (e.g., thumbs up/down) to facilitate audience-character interaction and advances the plot based on the audience’s choices, thereby realizing the concept of replacing traditional menus with gesture-based interaction in VR immersive theater experiences. The study collects and analyzes data through implementation testing, observational records, and interview feedback. Results indicate that the gesture interaction in the prototype demonstrates strong interactive potential and enhances the sense of immersion. Most participants found the interaction enjoyable and were able to quickly grasp the controls during their first experience, completing multiple successful interactions. These findings support the viability of integrating physical gestures with virtual storytelling. However, the research also identifies areas for improvement, including system response timing, gesture recognition stability, visual style, and sound design. In conclusion, this study offers preliminary validation of the feasibility of incorporating gesture recognition into immersive theater productions and highlights key challenges and future directions. It aims to serve as a foundational reference for future works combining natural interaction with digital narratives.en_US
dc.description.tableofcontents 第一章 緒論 1 第一節 研究背景與動機 1 1.1.1 VR沉浸式劇場的互動限制 1 1.1.2 手勢追蹤於VR敘事中的應用 4 1.1.3 從肢體互動思考VR沉浸式劇場創作的可能性 6 1.1.4 小結 8 第二節 創作目的與研究問題 10 第二章 文獻探討 11 第一節 「手」在虛擬實境劇場中的作用與應用 11 第二節 沉浸式劇場的設計要素及於VR中的發展 14 第三章 創作計畫 17 第一節 創作構想與假設 17 第二節 設計方法 18 3.2.1 透過角色引導觀眾互動 18 3.2.2 以手勢互動替代按鈕與選單 19 3.2.3 選用通俗普遍的身體語言 20 3.2.4 將手勢互動有機的融入劇情 21 3.2.5 以AI生成語音取代字幕 22 第三節 評估方法 23 第四章 作品內容與互動設計 24 第一節 故事劇情與背景設定設計 24 4.1.1 創作思路 24 4.1.2 故事情節概述 25 4.1.3 劇中角色介紹 27 第二節 場景演出與環境設計 28 4.2.1風格與演出呈現 28 4.2.2 觀眾位置安排與角色演出規劃 30 4.2.3 聲音與音效 32 第三節 互動與流程設計 34 4.3.1 透過手勢互動達成故事分歧 34 4.3.2 循序漸進的讓觀眾了解互動方式 35 第四節 手勢互動設計 37 4.4.1 手勢類型的選擇與原因 37 4.4.2 手勢辨識技術與機制 38 第五章 作品創作成果與分析 40 第一節 過程觀察與系統記錄 41 第二節 問卷結果 43 5.2.1 IPQ分數 43 5.2.2 VEQ分數 45 5.2.3 SUS分數 47 第三節 訪談回饋 49 5.3.1 手勢辨識互動與系統流程 49 5.3.2 場景視覺與演出呈現 50 5.3.3 聲音與音效 51 5.3.4 VR經驗對於體驗的影響 51 5.3.5 作品的再玩性 52 第六章 討論與結論 54 第一節 創作回顧 54 6.1.1 使用手勢辨識作為VR沉浸式劇場互動要素的可行性 54 6.1.2 作品中仍有待改進之處 55 6.1.3 未來展望 56 第二節 結論 58 參考文獻 59 文獻引用 59 作品參考 62 作品影片與截圖 63 附錄 67 附錄一 作品體驗介紹詞 67 附錄二 作品體驗評估問卷 68 附錄三 作品體驗內容訪綱 72 附錄四 作品劇本與詳細流程 74zh_TW
dc.format.extent 3569641 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110462018en_US
dc.subject (關鍵詞) 虛擬實境zh_TW
dc.subject (關鍵詞) 沉浸式劇場zh_TW
dc.subject (關鍵詞) 手勢辨識zh_TW
dc.subject (關鍵詞) 手勢控制設計zh_TW
dc.subject (關鍵詞) 劇場設計zh_TW
dc.subject (關鍵詞) 互動流程設計zh_TW
dc.subject (關鍵詞) 觀眾行為研究zh_TW
dc.subject (關鍵詞) Virtual realityen_US
dc.subject (關鍵詞) Immersive theateren_US
dc.subject (關鍵詞) Gesture recognitionen_US
dc.subject (關鍵詞) Gesture-based interaction designen_US
dc.subject (關鍵詞) Theatrical designen_US
dc.subject (關鍵詞) Interaction flow designen_US
dc.subject (關鍵詞) Audience behavior researchen_US
dc.title (題名) 基於手勢追蹤進行互動的VR沉浸式劇場設計：以《Silent Restaurant》創作為例zh_TW
dc.title (題名) Gesture-based Interaction for Immersive VR Theatre Design: A Case Study of 'Silent Restaurant' Creationen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) 文獻引用 Liang, H., Chang, J., Ismail, K., Zhang, J., & Jiao, P. (2017). Hand gesture-based interactive puppetry system to assist storytelling for children. The Visual Computer 33, 517–531. https://doi.org/10.1007/s00371-016-1272-6 Buckingham, G. (2021). Hand Tracking for Immersive Virtual Reality: Opportunities and Challenges. Front. Virtual Real. https://doi.org/10.3389/frvir.2021.728461 Varela-Aldás, J., Buele, J., López, I., & Palacios-Navarro, G. (2023). Influence of Hand Tracking in Immersive Virtual Reality for Memory Assessment. International Journal of Environmental Research and Public Health, 20(5), 4609. http://dx.doi.org/10.3390/ijerph20054609 Kang, J., & Lim, J. (2018). Storytelling-Based Hand Gesture Interaction in a Virtual Reality Environment. Advances in Intelligent Systems and Computing, 608. Springer, Cham. https://doi.org/10.1007/978-3-319-60639-2_17 Biggin, R. (2017). Interactivity and Immersion: Theoretical Approaches. Immersive Theatre and Audience Experience, Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-62039-8_2 White, G. (2012). On Immersive Theatre. Theatre Research International, 37(3), 221-235. https://doi:10.1017/S0307883312000880 Adam, A. (2017). Beyond Immersive Theatre. Palgrave Macmillan London. https://doi.org/10.1057/978-1-137-48044-6 Harada, Y., & Ohyama, J. (2019). Spatiotemporal Characteristics of 360-Degree Basic Attention. Sci Rep, 9, 16083. https://doi.org/10.1038/s41598-019-52313-3 Kshitij, D., Varad, M., Kaustubh, M., Amaan, N., & Archana, G. (2023). Study and Survey on Gesture Recognition Systems. ICCUBEA, IEEE 2023, 1-6. https://doi.org/10.1109/ICCUBEA58933.2023.10392214. Melo, M., Gonçalves, G., Vasconcelos-Raposo, J., & Bessa, M. (2023). How Much Presence is Enough? Qualitative Scales for Interpreting the Igroup Presence Questionnaire Score. IEEE Access, 11, 24675-24685. https://ieeexplore.ieee.org/document/10064261 Roth, D., & Latoschik, M. E. (2020). Construction of the Virtual Embodiment Questionnaire (VEQ). IEEE Transactions on Visualization and Computer Graphics, 26(12), 3546-3556. https://ieeexplore.ieee.org/document/9199571 John, B. (1995). SUS: A quick and dirty usability scale. Usability Eval. Ind.. 189. https://www.researchgate.net/publication/228593520_SUS_A_quick_and_dirty_usability_scale John, B. (2013). SUS: a retrospective. Journal of Usability Studies. 8, 29-40. https://www.researchgate.net/publication/285811057_SUS_a_retrospective Mandell, J. (2016). Immersive Theatre, Defined. https://howlround.com/immersive-theatre-defined Warren, J. (2017). Creating Worlds: How to Make Immersive Theatre. 虛擬真實: 沉浸式劇場創作祕笈（杜秀娟譯）。書林。 Thiago, R., & Sergio, M. (2010). An Analysis of Features for Hand-Gesture Classification. 17th International Conference on Systems, Signals and Image Processing. 楊奇珍（2015）。以體感方式參與敘事的3D互動敘事系統，國立政治大學資訊科學系未出版碩士論文。 作品參考 ender Claws. (2019). The Under Presents (Windows 10 ed.). Tender Claws. https://tenderclaws.com/theunderpresents Tender Claws. (2020). The Under Presents: Tempest! (Windows 10 ed.). Tender Claws. https://tenderclaws.com/tempest K'ARTS AT. (2020). Scarecrow. TAHI. SCARECROW VRC. https://www.scarecrowvrc.com 驚喜製造（2019）。微醺大飯店。驚喜製造。 https://www.surpriselab.com.tw/thegreattipsy2019/index.htmlzh_TW