When drama encounters digital media, what is portended is the coming of an era in which dramatic performances and their archives are fast becoming digitalized and mediatized. Riding the wave of the cyberculture and aided by the new wave of theoretical thinking, the digital mediatization of dramatic performances has become an unstoppable trend. These theories not only question the sacred nature of “liveness” but also challenge its irreplaceable dominant status. In the meantime, they promote and celebrate the democratic nature of the digitalized and mediatized performance text, urging us to re-think the nature of performing arts and their ties to multimedia. This paper intends to revisit the seminal article—“The Work of Art in the Age of Mechanical Reproduction” (1936)—by Walter Benjamin and use it as a starting point to discuss the status of “liveness” and “aura” after the rise of the digital and cyber
culture. Does this new trend foretell the decline and the eventual disappearance of both notions? Or does it trigger new ways of production and appreciation and pronounce a new era of performing arts? This paper looks into and explores the above-mentioned questions by drawing on related theories.