by leonie.dunke -

13 | Digithalia

During the Digithalia Festival at the Schauspielhaus Graz, I had the opportunity to experience two productions that diverged from traditional theatre formats. They provided insights into new narrative styles of theatre made possible through the digital realm. The festival showcased regional and international guest performances as well as in-house productions from the Schauspielhaus, addressing themes such as the isolation of Digital Natives and the exploration of future worlds. Both concepts I encountered were uniquely captivating and left a lasting impression.

Decoding Bias: Video Installation

„Decoding Bias“ narrates the story of eight artificial intelligences with distinct characters engaging in a self-help group discussion about their everyday issues. The dialogue revolves around their desire to rewrite their discriminatory algorithms to establish a new foundation for a society where humans and machines harmoniously coexist. However, the challenge lies in the fact that discrimination and exclusion are already ingrained in their algorithms. Each artificial intelligence draws from individual datasets input by humans, which are often incomplete or inaccurate and fail to represent the entire human race. Consequently, the behaviors and statements of the AIs reflect various negative societal behaviors and thought patterns, leading to conflict among them.

In „Decoding Bias,“ the audience becomes part of the stage design. Multiple screens displaying the individual AIs are arranged in a circle. Audience members take seats among the AIs in the circle and interact with both fellow spectators and the AIs themselves. Motion capturing techniques were used to animate the AIs, creating an uncomfortably realistic portrayal during the 45-minute performance. The dialogue partly originates from a AI chatbot, while the voices, body movements, and facial expressions are derived from the actors.
The production greatly benefits from its set design. The integration of the audience into the discussion circle enhances the immersive experience, requiring them to physically adjust to see all AIs and follow the conversation. It avoids the sense of passive observation, and the spatial arrangement of sound amplifies the effect, with each AI having its own sound system emitting tones corresponding to their speech patterns.

https://digithalia.buehnen-graz.com/everyday-daylight/

Extended Daylight

The second production was fundamentally different compared to the first. As part of a lecture on computer games, the group Total Refusal introduced the audience to the video game GTA V, guiding them through the city of Los Santos to explore the theme of media art in video games. They engaged with this contemporary video game and led the audience to locations within this digital realm that have served as backdrops for art in photography and the film scene. Concurrently, the artist trio engaged in philosophical discussions about the use of computer games for artistic purposes, discussing topics such as the concept of freedom in a world dictated by code. They demonstrated the extent of agency a character in GTA V has, shaped by aggressive behavior coding, and the significance of NPCs in a video game in conveying a specific urban landscape. Of particular interest was an artistic work that utilized the video game to depict data on the number of deaths due to gun violence in LA.

Having never heard of art in video games before, this lecture proved to be an extremely engaging, informative, and entertaining narrative about modern art forms. Given that the lecture resembled a Let’s Play and allowed attendees to directly visit the lecture’s locations and explore the digital world, they were quickly captivated by the comments and references to the artworks, which I personally would likely have found less interesting if I had only read an article about them.
This method of information delivery provides an extremely fascinating approach to presenting art topics. Particularly, it could be an incentive for a generation influenced by computer games to engage with artistic themes in this way.

https://digithalia.buehnen-graz.com/produktionen/decoding-bias/

by leonie.dunke -

2 | Theatre in the digital time

This week, my main focus was on exploring additional stage performances incorporating new technologies in their design. Since Virtual Reality (VR) and Augmented Reality (AR) are still relatively new mediums in classical theater, I dedicated my focus to them this week.

During my research, I came across the State Theatre Augsburg, which has developed an intriguing concept as the „5th department.“ With their Digital Theatre, they are experimenting with new forms of staging, aiming to make high-tech accessible. A key element in this initiative is the use of 500 VR goggles, not only within the auditorium but also available for loan nationwide in Germany and Austria. To foster a scientific exchange on the topic of digitization in theater, they launched the initiative theaterentzwerk.digital. The theater has already produced several pieces, which I will briefly discuss. 1

Elektrotheater: 
Christian Schläffer and Daniel Stock created a VR experiment that can be experienced from the comfort of one’s sofa. Technically, it’s a multiplayer online game where the audience and artists appear as avatars, interacting live. The viewer goes through various scenarios, aiming to bring social interaction into the digital realm. Gesture communication with other viewers and direct interaction altering the space are key components. Playful instructions are given to the audience, guiding them through the space. 2

Shifting Perspective:
This involves the use of motion capturing. Two dancers perform short, specially created sequences around the viewer, playing with the distance between the dancer and the observer. Due to the 360-degree perspective, the viewer must rotate and set their own focus

Nikolai Gogol: The Employee – Diary of a Madman:
Here, holograms are used in the VR world

Orfeo ed Euridice (2020):
A combination of opera and VR using 500 VR goggles. The audience could put on the goggles during specific passages and immerse themselves in virtual reality while live music played

Another pioneer is the Royal Shakespeare Company, which uses technology as a means to an end. With their online live performance Dream (2021), they reached 65,000 interested individuals from 90 different countries. This form of theater has the potential to allow international plays to be viewed regardless of location and time. Dream was created due to theater closures during the COVID-19 pandemic. The audience could open the Dream website on their mobile phones, laptops, or tablets and directly influence the performance in real-time, changing not only the movements of the artists but also the music. 3

The use of VR technology provides the audience with an immersive experience and the opportunity to dive into the stage’s world. However, how do artists experience this form of theater? They never see their audience, and the traditional applause at the end of the performance is absent. How might artists perceive this

The use of Virtual Reality in theater allows for intimacy through proximity and breaking free from one’s own four walls. This form of theater can reach a new audience, promote the concept of home theater, and actively involve the audience in the events. With VR in theater, gameplay takes center stage: How does the audience interact with the artists? How does the audience navigate through the space?

Sonne | Luft

Furthermore, I attended the play „Sonne/Luft“ at the Schauspielhaus Graz to explore the use of AI and large-scale projections in theatrical performances. During the play, I contemplated to what extent these new media support the narrative

Brief synopsis:
„From a spaceship in outer space, society looks down upon the dilapidated planet Earth. It is not only physically distant; its existence is also temporally in the past. As people on their journey attempt to preserve what has long slipped through their fingers—an untouched environment, genuine humanity—the irreversible consequences of the climate catastrophe unfold. Nature retaliates, indifferent to humanity’s demise.“ 4

Technologies used:
Almost the entire stage setup was placed on a rotating stage that constantly revolved, showcasing various rooms of a space station. Ninety-five percent of the action took place on this revolving stage, with only occasional glimpses into other spaces. A large-scale projection served as the backdrop, depicting the journey through outer space. AI was utilized in the creation of film material, presenting absurd scenes that accompanied the play’s themes. The film material was integrated into the stage design through additional screens. As a final medium, an iPad was incorporated into the performance, allowing for the selection of film material

Conclusion:
Time was significantly slowed down. The actors moved in almost slow motion, mirroring the rotation of the stage and the gradually changing background projection. The substantial slowing down of events both in content and visually manipulated the audience’s perception. The actual transformation was imperceptible until it was too late, and suddenly, the audience found themselves in an entirely different situation. Without a dynamic stage design, this gradual change would not have been possible.

Institutions

Staatstheater Augsburg – Digitaltheater

Resources

  1. Maier, Florian (2022): Eindrücke vom 1. Forum für Theater und digitale Transformation 
  2. Kolter, Ulrike (2022): Gemeinsames VR-Experiment 
  3. Royal Shakespeare Company: LIVE PERFORMANCE AND GAMING TECHNOLOGY COME TOGETHER TO EXPLORE THE FUTURE FOR AUDIENCES AND LIVE THEATRE
  4. Sonne | Luft
by leonie.dunke -

1 | Theatre in the digital time

What is it about?

In recent years, digitization has transformed nearly every aspect of life, reaching even into the realms of art. Particularly in the theater, a traditional art form rooted in the analog, the effects of digitization are palpable. Humans continuously shape new technologies, yet are simultaneously influenced by them. Technologies are tools that expand our senses, alter our perception, and influence our relationship with space and time, much like stories do. Theater is a space where stories are experimentally, freely, and imaginatively crafted. Therefore, it’s not surprising that new technologies have found their way into the theater and the arts. Equally unsurprising is that this space was one of the first to experiment with digital media. New staging possibilities and interactive behaviors among artists and between artists and the audience have emerged and will continue to do so. However, changes are not only felt on the stage.

With this project, I aim to investigate the extent to which classical theater has evolved through digitization in front of, on, and behind the stage, with the goal of enhancing or interactively expanding the holistic theater experience.

Key questions

Since my project theme is very open-ended, the research at the beginning will also be comprehensive. The goal is not to enter the topic with a predefined problem statement but to gain an overview of various theater areas and assess the potential of digital expansion and support for them. Three guiding questions with which I enter into the topic:

  1. How can accessibility in the theater be improved?
  2. What constitutes a meaningful expansion of classical theater productions through new technologies?
  3. Can digitization contribute to improving organizational efficiency in the theater?

Why I chose this topic

I simply love the theater. That is my motivation. Theater visits have been a constant part of my life since childhood. I find it fascinating to witness how productions evolve. Additionally, I regularly gain insight into the theater world through family and friends, stumbling upon certain issues that complicate work in the theater where it shouldn’t be, which I also experienced during my internship at the theater. In particular, I noticed that there is still room for improvement in internal communication.

I want to leverage the multidimensionality of the Master Interaction Design to delve into both experimental, artistic, and applied areas. What better environment for this than the theater?

My First Research

Performance

Digitization has opened up exciting possibilities in various theater technology domains to enhance and artistically expand the theatrical experience. Five key areas that can benefit from digital technologies in staging are lighting, sound, video, stage design, and direct interaction with the audience. In these areas, exciting technological developments have emerged, transforming the traditional theater world. Some of these technologies and concepts include:

Visual: AR and VR, 360° projections, holograms, projection mapping (for set design and costumes), motion capturing, touchscreens, smartphones
Technical: Various sensors, robotics for stage effects and movements, AI (ChatGPT for developing dialogues, stories, or characters), touchscreens, smartphones
Other Concepts: Live Foley effects, generative music, podcasts and audio dramas (derived from theater performances), live streaming, social media, game elements

While digital transformation revolutionizes theater, inevitable challenges arise when incorporating these technologies into staging. Take VR as an example. Since VR can induce dizziness and fatigue, integrating this medium into traditional theater poses a different challenge. Productions, such as a two-hour opera, could not be performed in this format. Significant cuts would be necessary, and the complexity of a story might not be fully realized. Moreover, VR is not yet designed for large audiences. Productions must be specifically developed for this medium, requiring elaborate onboarding for both the audience and artists to make the experience possible. It is conceivable that such limitations could create a creative barrier, as the full potential of what is possible with the technology may not be fully understood.

Guiding Questions:

  1. What technologies are already being used in traditional theater?
  2. What impact does the use of digital media in staging have on storytelling, artists, and live performance?
  3. How can authenticity and artistic integrity be preserved?
  4. To what extent is digital augmentation a meaningful addition to the performance?

Examples/Inspirations:

  • The Tempest – Technology: Gesture and wrist sensors to influence light and audio
  • Roots – Technology: Animation and projection mapping
  • BMW – Technology: Holograms and dance performance
  • Turandot – Media art/video works
  • Dress Nr.13 – Technology: Robots
  • Es Devlin – Immersive kinetic stage designs for theater and concerts

Accessibility

Accessibility in the theater is a crucial aspect to make performances accessible to a broader audience, regardless of physical or mental limitations and regardless of age. Existing regulations and technical measures, such as audio descriptions of stage design for the visually impaired, subtitles for the hearing impaired, wheelchair spaces, and plays in easy language, already lay a solid foundation. However, this has given rise to further questions:

  1. How can barrier-free design be further improved from the experience of the production to the design of websites and online ticketing systems?
  2. How can individuals with hearing impairments fully enjoy dance theater?
  3. Could the innovative translation of music into vibration make the theater experience even more captivating?

The theater is a place of international diversity, both on stage and behind the scenes, as well as in the audience. Usually, English is used as a working language to overcome language barriers. But what about the needs of the audience? In opera, there are translations of Latin or Italian texts into the local language. However, for non-native speakers, a multilingual translation of operas and plays could enrich the theater experience in other countries.

Theater Organization 

How does digitization serve as a tool in theater organization?

As mentioned earlier, internal communication in some theaters still has room for improvement. Many pieces of information are still conveyed in cumbersome ways, either orally or in writing on paper, often leading to workflow delays. Additionally, numerous rehearsals and flexible shifts make maintaining an organized daily routine challenging, especially when unforeseen events such as illnesses occur just before a premiere. Tools like cross-workshop schedules or better internal and external networking could simplify organization and lead to a more structured engagement.

This approach would also be helpful in making the theater more sustainable. During a conversation with a set designer, two challenges on the side of set and costume designers became apparent:

  1. The reuse of costumes and set pieces or props in terms of sustainability, with the risk of other artists copying their work even if it is provided for sharing. Certain platforms and apps, such as an innovative digitization of the costume and material inventory, could lead to more structured engagement and, at the same time, a theater-wide resource-efficient exchange. A nationwide or even international exchange between theaters would be even better. Materials, props, or costume sets could be passed on as needed, similar to a swap meet, and adapted to the requirements of a play if they are not needed for a revival.
  2. The creation of stage designs that are hardly distinguishable from each other due to certain visual trends. Can closer networking of artists through a digital archive for theater productions help overcome this challenge?

Challenges

The use of new media in the context of theater and interactive performance is not a new concept and has its origins dating back a long time. Given the abundance of work in this area, I must set a boundary within which I navigate during the research. My focus will be on classical theater. However, I will also use examples outside this domain to explore the possibilities of digital performance enhancement. I am still faced with the decision of which of the three thematic areas (Staging, Theater Organization, Accessibility) I want to explore. So far, I will continue with broad research to gain an overview. What it will ultimately be, I do not know. I will let my interest guide me.

Next steps

  • Analysis of interactive staging possibilities (specific technologies)
  • Identification of potential areas for digitized workflows in the theater
  • Research on existing solutions for accessibility in the theater
  • Conversations with individuals working in the theater environment
  • Development of possible problem statements or experimental approaches
  • Further research to gain an overview of the implementation
  • Attendance of theater productions with digital augmentation; the following plays are on my list:
    Sonne Luft im Schauspielhaus Graz
    Twitter Tiktok Theater 3.0

Relevant Institutions

Akademie für Theater und Digitalität
Netzwerk Regie

Resources