The term "feedback", also known as feedback, has many derived meanings in psychology. For example, it can refer to the reaction that a person itself produces according to the mechanism of conditioning, as well as the connection of such reaction circuits. The use of this concept in this book mainly refers to the role of consciousness in constantly adjusting activities according to effects. The effect is generated by the activity, but it can in turn adjust and direct the activity, creating a reaction loop that will benefit the ongoing activity again and again. Throw a dart blindfolded, and you will never learn to aim; People who are fully deaf learn to speak, and are likely to remain deaf and dumb, because they do not have access to information about what they throw and speak.

The significance of feedback in drama can be started with an experiment.

The British director Peter Brooke once went to a university to give a lecture on the nature of theatre. He asked one of the audience members to help him do an experiment. Brooke handed him a piece of paper with a passage from Shakespeare's historical play Henry V and asked him to read it aloud. This passage contains nothing else, except to list the names and numbers of those killed in the war between France and England. The amateur actor who volunteered to go on stage immediately had a reflex when he saw that it was a line from Shakespeare's play, and he used a fake voice to try his best to be dignified and quaint. However, the list and numbers bore the audience, and after a while everyone had no patience to listen to it. The reader was very embarrassed, his words gradually slurred, and his tongue could not be bent. After he had barely finished reading, Brooke asked everyone to find out why they didn't want to listen to the reading. There was a lot of talking, but there was no result.

So, Brooke proposed to do the same experiment again, and the same list and number of the dead would be recited by the same man just now, but with a small request, pausing for each name to be read. A small request was also made to the audience, and every time they heard a name, they thought that the deceased had also been a living person. When the experiment started in this way, it was a different story. As soon as the reader read out the first name, there was silence in the not-so-quiet venue, and the audience was thinking, and the atmosphere was serious and tense. This atmosphere immediately seized the reciter tightly, and he threw himself into the list with emotion. The recitation tone of the la-la tone was gone, and his tone became plain and real. In this way, the audience is more willing to listen, and the top and bottom become solemn, contemplative and emotional. Later, when Brooke went to other universities to give lectures, he mentioned the experiment, saying:

Here, the audience is given a rare sense of initiative, and the result is that an inexperienced actor is guided through the show.

The audience didn't make a sound, they didn't have much expression, they just gave the inexperienced reader feedback and made him immediately go from failure to success.

The importance of feedback for theatre is even more evident in the context of theatre's serious challenges to film, television and radio dramas. These "plays", which are expressed electronically, are not much different from stage plays in a fundamentally aesthetic sense, but their performances are not likely to receive on-the-spot feedback. Therefore, on-the-spot feedback has become the only exclusive weapon that can match the opponent in this epochal battle. For theater to survive, it must try to prove its irreplaceability. Therefore, it is not surprising that the various reforms of contemporary dramatists are often based on changing the relationship between the stage and the audience, that is, the adjustment of the feedback relationship.

In the studio and broadcast studio, the actors of films, television, and radio dramas must communicate with each other when performing, but it is difficult to form a feedback with the real audience. Sometimes there are a small number of "audiences" in the studio, but these "audiences" have become another component of the performance. In short, the actors of film, television, and radio dramas do not have to carry out a two-level psychological activity like a stage performance: they take care of both the plot and the audience's reaction, and constantly adjust to the next performance. As a result, young actors tend to be more successful on the screen than successful on stage. Most of the childish child actors are also more suitable for the studio than for the stage. "When we compare film acting with stage performance, we can see that a good stage actor can act in a movie, but a good film actor doesn't necessarily make it to the stage," Brooke said. This is a truth that has been proven by many facts.

At this point, we can make a summary of the meaning of feedback -

Feedback is spatially manifested as a round-trip relationship between two entities, and in time, it is manifested as an up-and-down succession between the previous and subsequent steps. The audience's reaction is to the actor's previous action, and when this reaction is delivered to the actor, the actor has to self-regulate the next action. So, the effect of the previous step becomes the cause of the next step, and the performance continues. In the theater, the so-called effect is seen in the audience, and the so-called cause comes from the actors, so this causal continuity is extended between back and forth. The extension of time cannot be achieved without spatial transfer, and without the extension of time, the static correspondence of the two spatial entities is meaningless. The process of drama exists in the continuous transition between the stage and the audience, and this continuity cannot be stopped for a moment.