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Artistic projects

Digital innovation in theatre

ETC international theatre conference, general assembly and extraordinary general assembly

 


ANONYMOUS P. / YOU ARE OUT THERE
Chris Kondek / Christiane Kühl

Their first collaborative work was Dead Cat Bounce (2004), a stock exchange performance using an internet broker in which the audience decided which stocks to buy and sell. Hier ist der Apparat (2006) was a performative tour through the history of 20th century media, based on Brecht’s radio play Der Ozeanflug. Anonymous P. (2014) is a hacker performance disguised as a harmless interactive play between members of the audience. You are out there (2017) demonstrates that one cannot live without digital avatars any more but the effective counter measure to the ever growing surveillance is the creation of a multitude of avatars. 


CYBERRÄUBER
Björn Lengers

The virtual reality set-up of CyberRäuber allows a view into current and past projects, showing volumetric recordings of actors (‘holograms’) in virtual stage settings and environments that the ‘visitor’ can walk through, becoming part of the scene. Let’s talk about potential and constraints. 


DOPPELGÄNGER
Hochschule für Gestaltung (HfG) class

We all have a bureaucratic double with name and passport that allows the state to unambiguously identify us. Our virtual doubles – selfies, avatars, social media profiles – are, on the other hand, figures of freedom: in the internet you can be whoever you want. Recently these two are united into one single double, which controls us in the increasingly digitized physical world. On display are works by students of the Hochschule für Gestaltung Karlsruhe, class Heike Schuppelius.
Mona Altmann, Hanna Scherwinski: MAY THE OBJECT OF OBJECTION BECOME MY REFLECTION / Leia Walz: puppenspiel / Hanna Franke: Sein im Schein / Anna Wörl: Entkörperlicht / Veronika Scharbert: Tinchen86 / Klemens Czurda: The Brain States / Benjamin Breitkopf: Prolog im Konsens / Phillippe Mainz, Lena Loy, Iris Weigel: Das Komplex / Caera O’Neill, Carina Obrecht, Camila Otero, Carla Oberhauser: who am I? // wer bin ich? // ¿quién soy? / Christina Vinke: Die eine als Doppelgänger der anderen / Ebru Erdem: Kimlik / Miki Feller / Victor van Wetten: LOFTUS Anja Ruschival: curational work, communication, organisation / Bruno Jacoby, Massimiliano Audretsch: graphic, exhibition design


IMPACT: ARTS, SCIENCE AND TECHNOLOGY AT THE HEART OF THE MEUSERHINE EUREGION

Jonathan Thonon

At a time when technology invests all sectors of society and where art seems increasingly concerned with creative technologies and digital cultures, the Théâtre de Liège (Lead Partner) and its partners in the Euregio Meuse-Rhin launched IMPACT, aiming to promote the cooperation between the artistic, academic and industrial sectors. The IMPACT (International Meeting in Performing Arts and Creative Technologies) project is supported by the INTERREG V-A Euregio Meuse-Rhine Cooperation Program, Wallonia and the Deutschsprachige Gemeinschaft Belgiens.


LORD OF THE FLIES: SURVIVAL MODE
Birgit Lengers

A production of Junges DT, Berlin: What’s the link between the literary classic Lord of the Flies and Minecraft, the open-world game with 100 million registered players? In Golding’s dystopian Robinsonade, a group of schoolboys ends up on an uninhabited island and is left to its own devices. Soon, rivalry and hunting instinct escalate into a life-and-death struggle. In Minecraft the players start their discovery tour in a pixel paradise of their own design. They create new worlds from limited resources. But when night falls, monsters appear and they have to overcome dangers and battles in survival mode. Which rules should apply? What’s more fun: construction or destruction, civilisation or anarchy? And where are the limits?


KARLSRUHE MAPTORY – A DIGITAL ENACTMENT IN THE CITY
Bernd Lintermann

The app Karlsruhe Maptory leads its users through the inner city of Karlsruhe on the trail of important figures in the city’s history. At 35 locations, stories connected with 35 Karlsruhe scholars, scientists, and artists are staged and overlap with reality. Via augmented reality (AR) technology users experience this on a mobile end device. The app was developed for the 300th anniversary of the city of Karlsruhe by Bernd Lintermann, Florian Hertweck, Ludger Brümmer, Eva Lusch, and Peter Weibel in collaboration with the STAATSTHEATER.


MINISTRY OF COUNTERCULTURE, MOC.MEDIA
Clare Robertson

Belarus Free Theatre is presenting its digital work to-date, both in live-streaming, which in 2015 engaged an online audience of over 500,000 devices, and its bi-lingual (Russian/English) media platform, Ministry of Counterculture


P3M5
Karla Mäder

Initiated by the Goethe-Institut Washington and designed as a transatlantic dialogue between Europe and the United States through theatre, 5 theatres from the US and 11 European theatres / authors / countries became part of the project about the “plurality of privacy in 5-minute-plays”. Each theatre has commissioned an author to write a short play about: “What does privacy mean to you in the digital age?” All plays have been translated into English and German, been videotaped and are free to use until June 2018. Some ETC-members are part of the project: Craiova, Graz, Liège, Nova Gorica. From June 6th – 11th 2017, the annual playwright’s festival in Graz will unite all 16 authors and start the transatlantic dialogue about the issue among the authors. 


PALPABLE ELECTRONIC SPACES: RESEARCH ON NEW MEDIA DRAMATURGY
Chris Ziegler

Chris Ziegler is presenting his research on “the intelligent stage” at ZKM Karlsruhe and Arizona State University. Theatre in its essence is a physical art form. Beyond augmented and digital – video based and projected – scenographic stage setups he works on electronic “palpable” spaces for physical interaction in virtual space. He presents two environments “forest” and “corpus” for case studies on new media dramaturgy. 


PANORAMALAB

Two interactive film installations. The audiovisual material is adapted to be presented in the 360 degree projection space and is not identical with the original work.

Eavesdrop, 2004, by Jeffrey Shaw, David Pledger Ten people are forever doomed to repeat nine minutes of their lives. Exploring terrain that is at once spiritual, moral, ethical, psychological and physical, this ingeniously crafted artwork is driven by any member of the public who, as the free radical user-director, reveals the secrets embedded in the interconnected stories. 

There is still time... Brother, 2007, directed by Elizabeth LeCompte, developed with Jeffrey Shaw Standing inside the Wooster Group’s first interactive, 360-degree war film one is surrounded by an exhilaratingly complex narrative space where the action can only be seen and heard through a virtual “peephole” window that scans the circle, controlled by a member of the audience capturing the action, in which the film’s mercurial host tries to articulate the implications of the unique “narrative space” while outnumbered British troops battle the French and grotesquely enlarged children’s toys vie for attention with politically minded bloggers and unsavory YouTube videos. 


THEATRE LAB IN THE DIGITAL ERA
Michael Eickhoff

The Schauspiel Dortmund, lately addressed as the “theatre lab in the digital era” by the media, is focussing the topic of digitalisation. They search for new ways of storytelling in the digital age, for topics that require the use of digital media. The Schauspiel is collaborating with professionals from far away fields, as programmers, mathematicians, etc. The Borderline Procession, directed by Kay Voges, is invited to the Berlin Theatertreffen 2017.