Dramatic performance displays a unique cultural consumption landscape in contemporary China in a changing manner. The immersive and consumptive performances of every description emerge in different media environments with a post-modern form, behind which it undertakes the narrative core consistent with modern performance theory. From Stanislavski's "experimentalism" to Brecht's "alienation effect", from improvisation to immersive drama with post-modernity, Richard Schechner, a post-modern playwright, arrives at a more macroscopic level of human performance studies in re-explaining modern and post-modern performance. However, behind the seemingly complicated modern and post-modern performance is a change and a shift of the narrative way of drama. The system of Stanislavski and that of Brecht are considered as modern. Their narrative structure depends on the play, which is stable, and the process of dramatic narrative development relies on performance. In post-modern performance, dramatic narrative is produced at the moment of performance, and each performance can create a new narrative. At present, all forms of immersive performance have constructed a new relationship between audiences and performers, its dramatic narrative is immersed in performance field and jointly completed with audiences' consumption process and performance environment.