Retraction:  Liminal Experience and Spatial Consumption: The Cultural Practice of Youth in Environmental Theatre

Authors

  • Yu Zhang School of Publishing, University of Shanghai for Science and Technology, Shanghai 200000, China Author
  • JiaYuan Li School of Publishing, University of Shanghai for Science and Technology, Shanghai 200000, China Author

DOI:

https://doi.org/10.63313/ah.9052

Keywords:

Environmental Theatre, Liminal Space, Spatial Consumption, Youth Subculture

Abstract

At request of the authors, this article has been retracted by Erytis Publishing Limited in light of clear evidence that the results and conclusions are no longer valid.

We thank the authors for notifying us so that the publication record can be amended accordingly.

Retraction published: May 14, 2026.

References

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[2] Schechner, R. (1968). Six principles of environmental theatre. Environmental Theatre, 1, 27-29.

[3] Schechner, R. (2001). Environmental Theatre (C. L. S., Trans.). Beijing: China Theatre Press, 6-10.

[4] Wu, X. F. (2020). The game between environmental theatre and traditional theatre: A brief discussion on the localization development of environmental theatre in China. Drama House, 4, 27-28.

[5] Tang, L. (2023). Research on brand communication strategies of new urban consumption scenarios under the background of cultural and tourism integration. Contemporary Communication, 2, 38-40.

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[8] Liu, C. P. (2022). Upgrading the level of cultural consumption capacity: Research on the development trend of new performing arts spaces in Shanghai. Art Management, 1, 143-149.

[9] Li, Y. (2024). Stage transformation and its characteristics of repertoire production in new performing arts spaces. Art Education, 8, 195-200.

[10] Liang, Q. (2022). Research on the scene construction of urban new performing arts spaces from the perspective of scene theory: A case study of Star Space No.1 in Shanghai Asia Mansion. Shanghai Urban Management, 5, 85-88.

[11] Fu, X. (2023). Research on the communication practice of immersive theatres from the perspective of spatial media [D]. Chengdu University, 9-20.

[12] He, X. S. (2007). The spatial turn of new urban sociology. Journal of East China University of Science and Technology (Social Science Edition), 1, 1-5.

[13] Bao, Y. M. (2003). Modernity and the Production of Space. Shanghai: Shanghai Education Press, 47-50.

[14] Van Gennep, A. (2010). The Rites of Passage (Z. J. W., Trans.). Beijing: The Commercial Press, 15-30.

[15] Van Gennep, A. (2010). The Rites of Passage (Z. J. W., Trans.). Beijing: The Commercial Press, 15-30.

[16] Turner, V. (2006). The Ritual Process: Structure and Anti-Structure (H. J. B., & Liu, B. Y., Trans.). Beijing: China Renmin University Press, 95-96, 102, 133.

[17] Li, Y. R. (2021). Liminal experience and physical discipline in beauty selfies. New Media Research, 2, 37-39.

[18] He, F. (2019). Variables: Seeing the small trends of Chinese society. Beijing: CITIC Press, 243-244.

[19] Ao, C. B. (2021). The diverse characteristics, realistic causes and subcultural significance of Generation Z's consumption concepts. China Youth Study, 6, 100-105.

[20] Ji, R. Y. (2020). Analysis of consumption psychology of "blind box fever" from the perspective of Internet communication. Southeast Communication, 1, 117-119.

[21] Gajgin-Schwartz, A., & Zhou, H. Y. (2006). Material culture, ritual and daily life in archaeology and folklore. Folk Culture Forum, 1, 53-61.

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Published

2026-05-08

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Section

Articles

How to Cite

Retraction:  Liminal Experience and Spatial Consumption: The Cultural Practice of Youth in Environmental Theatre. (2026). Art Horizons, 3(1), 52–61. https://doi.org/10.63313/ah.9052