All the artistic styles possessed by human beings are produced in response to the different aesthetic and psychological needs of human beings. The most primitive forms of art correspond to the simplest needs of the human perception system. Later development can also be seen as the development of this psychological need.

These correspondences are not one-liners. For example, the need for emotion is common to many artistic styles, but the routes are often very different. Some art styles lead from visual perception to understanding and emotion; In some art forms, auditory perception triggers imagination and association, and so on.

Drama, film, and television correspond to people's all-round comprehensive aesthetic and psychological needs.

They respond to a comprehensive psychological need in a holistic context.

In Aesthetics, Hegel delved into the question of the overall situation. "One of the most important aspects of art has always been the search for engaging situations, the ones that reveal the deep and important purpose and true meaning of the mind," he said. Through repeated comparisons, he believes that only drama can most fully and profoundly express this "compelling situation". He adds the definition of "fascinating" to the situation, although it is accidental, but it connects the situation with the audience's psychology.

Hegel

Hegel further examines the inevitability of the emergence of a holistic situation in drama, and his theoretical entry point is a very specific artistic question: can reading and reciting only a dramatic work have the effect of actually acting? Even Goethe, who had a lot of stage experience, could hardly come up with a clear answer to this question until his later years. This is because there are wonderful reciters, and it is difficult to imagine whether such reciters can provide the audience with a realistic and realistic vision, although it is possible. Hegel tended to deny this possibility, saying: "If the recitation is to show the vividness of the drama, to draw the listener entirely into the actual situation, a new contradiction arises: the ear is satisfied, and the eye is demanded." When we hear the narrative of the action plot, we want to see the characters in the play, their faces, postures, expressions, and surroundings. The eye demands a complete picture, not a reciter standing or sitting quietly in a private social setting. So recitation is nothing more than an unsatisfactory compromise between silent reading (completely discarding the reality of the play and leaving it to the imagination) and a complete performance. "The kind of situation that Hegel demanded that satisfy multiple perceptions and give a complete picture to the fullest could only be seen on the theatrical stage in his time.

Masterpiece recitation

In fact, as a theater activist, Goethe had a deeper understanding of the completeness of the dramatic situation than the scholar Hegel. A young friend who was a stranger to theatre at the beginning, but because of Goethe's inspiration and influence, he quickly became a fan of theatre, and was even willing to sit in an empty theatre for half an hour and imagine what it would be like to perform.

Goethe

Knowing this, Goethe analysed the young man about the reasons why the situation on stage was so attractive. When he goes to the play, he says, "everything passes by before your eyes, so that the mind and the senses are enjoyed and satisfied." There's poetry, it's painting, it's singing and music, it's performing arts, and so much more! The magic of art and youthful beauty is concentrated in one night, and the high degree of coordination and cooperation is at work, and it is an incomparable feast"! Goethe's words illustrate that drama is a situation that satisfies the needs of the whole psyche.

In addition to dramatic literature, other individual dramatic elements are also not a substitute for the overall situation. In the early 20th century, a Polish actress named Moyesga visited the United States and performed an impromptu scene at the New York station in Polish that the welcome did not understand, drawing tears to the eyes of those present with a line that resembled a mournful conversation between the two men, and finally revealed that she was memorizing a mathematical multiplication formula. In addition, an Italian tragic actor named Rossi achieved the same effect when he recited a recipe. Based on this, some people exaggerate the function of performance, believing that it is possible to compose a drama with "pure performance". In fact, if the above anecdotes are completely true, the audience's psychological sensitivity is also very different from that when watching the play. This kind of induction, which depends to a large extent on the rapid association and supplementation of the audience, has a great deal of chance, and the breadth and depth of psychological needs to be satisfied are far from being compared with the overall situation of the drama. Other components of the theatre, such as the stage set, can sometimes "speak" and should be sought to be made to do so, but this discourse is only one component of the overall context. Throughout the history of the development of stage art, there has been a tendency to allow the set to function independently of the overall context, but it has always been overcome by a more robust conception of theatre.

Since the beginning of the 20th century, it has become increasingly clear that the totality of drama is linked to the totality of the audience's psychological feelings. The Russian dramatist Ann Goncharov pointed out: "Today's drama is a complex organism. Dramatic art has clearly tended to be multi-voiced. In this way, it is possible to expand the range of emotional influence on the audience and produce new and different emotional effects. At the same time, the role of each of the components that make up a unified whole — the show — is not diminished in any way. Goncharov also cited the research results of psychologist Simonov and pointed out that no matter how full and nuanced the actor's external expression is, it may not be able to produce a corresponding infectious effect in the audience, and the key lies in the "reason" provided by the stage as a whole to the audience.

The British theatre theorist Martin Eisling also spoke about this issue. After analyzing the various characteristics of dramatic action and other means of expression in "Anatomy of Drama", he turned his pen and entered a deeper level:

These are the most basic considerations. More esoteric and subtle is how drama can work in several ways at once. …… The form of theatrical expression gives the audience the freedom to judge for themselves the subtext hidden behind the open lines. In other words, it puts the viewer in the same situation as the character listening to the words.

Aisling clearly connects this characteristic of drama with the essence of drama.

When the artist connects the category of work he is engaged in with people's aesthetic and psychological needs, each artistic style also finds its own psychological and anthropological basis for its own production and existence. The word "comprehensive" of drama, film, and television, as comprehensive arts, does not come from the composition of their own artistic components, but from people's comprehensive psychological needs. This seems to make them lose the dignity of self-sufficiency, but in fact they are truly self-sufficient because they have found the foundation of their lives. The self-consciousness of art and the artist is born from this.

It is in this sense that the study of audience psychology has become the study of the essentialism of art.