Digital technology not only provides rich and diverse educational resources, flexible and convenient learning methods, but also continuously innovates the production and dissemination of art. As a comprehensive and live art, how should our existing knowledge system respond to the new ways of expression in the digital age in drama? How can theatrical aesthetic education play its unique role? What kind of public education on theatrical arts do we need? The deep integration of technology and art is driving innovation in all aspects of drama, from performance content to form. Drama art has always regarded the live presence of actors and audiences in the same time and space as its unique charm. In the digital age, multimedia technology participates in stage presentation in a broader and deeper way. Since the beginning of this year, the first Sphinx Metaverse Drama Festival, the participation of AI in script creation and performances, and the emergence of artificial intelligence on stage have further deepened the intersection and overlap between reality and virtual time and space, promoting the emergence of new forms of theatrical art. At the same time, new theatrical scenes characterized by immersion and interaction are emerging one after another, ranging from small performance spaces in commercial complexes to interactive experience venues transformed from bars, factories, and markets, with a trend of immersing everything. These new forms and scenes not only bring viewers a more intuitive and immersive experience, but also change the aesthetic characteristics of drama. This not only brings more vivid cases to the art classroom, but also drives the transformation of teaching methods. In this regard, we need to constantly return to the essence of drama and education, rather than sacrificing the essence for the end. We need to approach the phenomenon of drama creation in the era of digital technology transformation dialectically and seek solutions. We have been thinking: Is there any artistic energy in drama that cannot be replaced and cannot be changed by digital technology? In fact, just think of Shakespeare, who has always had works that transcend time and media, and even demonstrated strong adaptability to today's popular entertainment forms, as well as classic opera plays that audiences enjoy and often perform new ones, you can understand that the human and emotional power of drama to move audiences has always remained unchanged throughout history. Today, even if artificial intelligence technology is applied to theatrical performances and audiences wear VR to watch, creators still pursue how to make the audience experience and empathize. At the same time, when technology turns our traditional art, especially ancient painting, into stillness and movement, and the live audience becomes spectators, we also need to think. When vision can push all things in the world and the impossible in reality to our eyes in an infinitely realistic and intuitive way, then the process of imagination during viewing becomes even more precious. Therefore, in traditional Chinese aesthetic activities, the emphasis on active participation of the audience's imagination provides profound enlightenment, including the ancient people's "reclining" behavior when appreciating landscape paintings, the "singing and dancing" performance of events on the stage of traditional Chinese opera based solely on "one table and two chairs" and the movements of actors, allowing the audience to imagine the aesthetic concept of animation. For the comprehensive inheritance of China's excellent traditional culture and art, especially the aesthetic experience mentioned above, it not only provides rich ways for art to return to people, strengthens the demand for student-centered teaching design, but also serves as a foundation for aesthetic education and moral education in the digital age