The period from 2002 to 2008 treats theatre technology as both a memory resource and an organizational instrument, foregrounding the reuse of past productions as a memory bank and positioning corporate theatre as a dramaturgical toolkit that can shape culture and behavior within organizations. It integrates cognitive linguistics and interaction aesthetics to connect language, cognition, and embodied performance, expanding research into user experience, interactive forms, and experience design in live theatre and installations. Methodologically, cross-disciplinary work links memory studies, dramaturgy, and media-archaeology with ideas from cognitive science and human-computer interaction, producing new practices for analyzing and designing performance systems. Historical Significance: The Haunted Stage, From Dramaturgy to Theatre as Technology: The Case of Corporate Theatre, Interplay: The Method and Potential of a Cognitive Scientific Approach to Theatre, and Performing perception—staging aesthetics of interaction catalyzed a shift toward treating theatre as technology embedded in social and organizational contexts, with memory-work and cognitive-analysis at the core. These works seeded future research in memory-archaeology of performance, theatre-based interventions in organizational settings, and cross-disciplinary methods fusing dramaturgy with cognitive science and UX design. The resulting paradigm highlighted how performance models perception, interaction, and culture, guiding later developments in interactive installations, augmented performances, and design-informed analysis of theatre.