by vinzenz.weber -

XR 8 // Beyond Gaming: XR in the Entertainment Industry

XR is a technology that has been gaining popularity in the entertainment industry. While gaming is a major part of XR, this post would explore its other applications in entertainment, such as virtual concerts, immersive theater, and interactive art installations.

Virtual Concerts: A New Stage for Artists and Fans

Imagine attending a concert by your favorite artist from the comfort of your living room, yet feeling as though you’re right there in the front row. XR makes this possible. Virtual concerts in XR are not just about streaming a live performance; they are about creating an immersive, interactive experience. Fans can choose different viewpoints, interact with the environment, and even feel the vibration of the music through haptic feedback technology.

Artists like Travis Scott and Marshmello have already experimented with these concepts, drawing millions of virtual attendees. These events aren’t just concerts; they’re hyper-realistic experiences blending music, visual art, and digital interaction.

Meta is also pushing strongly into this direction by hosting live concerts on their Meta Quest Plattform. There will be for example a Lice concert by imagine Dragon at June 15th on this plattform.

Immersive Theater: Blurring the Lines Between Audience and Performer

Theater has always been an immersive experience, but XR takes this immersion to a new level. Unlike traditional theater, where the audience is a passive observer, XR theater can make viewers a part of the performance. Through VR headsets or AR applications, audience members can experience different narratives from multiple perspectives, interact with the performers, or even influence the outcome of the story.

Companies like Punchdrunk and Magic Leap are pioneering in this space, creating experiences where the line between audience and performer is blurred, leading to a more intimate and personal form of storytelling.

Interactive Art Installations: Stepping into the Canvas

Art has always been a medium for expression and experience, but XR adds an interactive dimension to it. Interactive art installations using XR technologies allow viewers to step into the artwork, manipulate elements, and experience the art in a multi-sensory manner. This form of art is not just to be seen but to be experienced and interacted with.

Artists like Refik Anadol and teamLab are at the forefront, creating stunning visual landscapes that respond to and evolve with viewer interactions. These installations are not static; they are dynamic and alive, offering a personalized experience to every viewer.

Conclusion: A New Era of Entertainment

XR in entertainment is more than a technological advancement; it’s a paradigm shift in how we experience art, music, and storytelling. It’s about creating worlds that we can step into, interact with, and be a part of. As we look to the future, the possibilities are boundless. We’re not just witnessing a change in entertainment; we’re participating in the birth of entirely new forms of expression and experience.

This is just the beginning. As XR technologies continue to evolve, we can expect to see even more innovative and immersive experiences that challenge our perceptions of reality and entertainment. The future of entertainment is here, and it’s virtual, augmented, and mixed.

Sources

by leonie.dunke -

10 | Theatre in the digital time

In recent weeks, I have drawn inspiration from captivating articles, podcasts, conversations, and theatre performances, gaining numerous fascinating insights into the context of digitisation in the theatre. As I began my research without a clear direction, I formulated three guiding questions to systematically delve into the subject. With the aim of providing an overview of the gathered information and my research process, this blog post will summarise and refine the essential contents.

My initial guiding questions covered various aspects, including the future potentials of digital technologies for productions, accessibility in the theatre, and digital tools for more efficient communication and organisation within the theatre and across different departments.

My research commenced with the digital enhancement of theatre productions, uncovering numerous projects. The theatre realm is a creative sphere where experimentation with newly developed digital techniques is constant. This ranges from projections on the stage to specially crafted VR experiences, the integration of sensors, motion capturing, AI, smartphones, and interactive audience involvement.

The abundance of projects led to occasional uncertainty about my focus, as explored possibilities were already implemented in various theatre productions.

In a phase of uncertainty about my further research, I dedicated myself to the digitalisation of work processes in the theatre. Conversations with theatre professionals sparked my interest, particularly regarding the intricate organisation of stage designs and costumes. Sustainability in the theatre, gaining significance, especially concerning meticulously planned and produced stage designs and costumes, became a central focus. This prompted me to question whether digitisation could not only enhance processes but also contribute to a more sustainable theatre environment. The attached infographic aided in understanding the interconnection of various theatre departments and served as an ideal starting point for comprehending production processes and discussing potential improvements.

MOOI: Information graphic – Hinter den Kulissen

In my third blog post, I delved intensively into the „Green Book,“ providing suggestions for a sustainable theatre production process. Particularly fascinating were the tips and potential changes for a more sustainable material management and internal communication and organisation. Examples include detailed organisation of storage spaces, notes on environmentally friendly materials, and digital communication with international theatre professionals, reducing travel, saving time, and still ensuring effective collaboration.

After gaining a broad overview of theatre areas with potential for change, I focused in subsequent blog posts on the field of stage design. At that time, this area seemed to offer the greatest potential for digital transformation, encompassing the design process, production, and, most importantly, the stage rehearsal.

The crucial steps where digital tools can contribute to more sustainability and smoother processes are during the design phase, model building for various concepts, and the stage rehearsal. Digital technologies like VR and AR support by providing precise visualisation in actual size, movement in space, and direct adjustments to stage designs. Virtual models promote efficient conceptualisation, improved teamwork, resource efficiency by avoiding physical models, sustainability through eco-friendly software, adaptability, light simulation, and effect optimisation. Additionally, digital models can be archived and reused for future productions, offering ecological and economic advantages.

A fascinating project by DTHG, focusing on the use of VR and AR in the design process of stage designs, captured my attention. The project centered on developing a design process where digital tools were judiciously employed. This included 3D programs for model creation, Mozilla Hubs for digital meetings discussing 3D models in large groups, and VR-Sketch, enabling discussions and construction rehearsals through VR headsets, with the unique feature of live editing of the virtual 3D model during discussions.

Lastly, through this project, I explored additional possibilities for VR and AR, such as enhancing the theatre experience in a museum format, on stage, and as a supportive learning tool in construction training.

Looking back, the comprehensive research into various areas where digitisation is more prevalent has helped me gain a broad overview of the current state of affairs. Returning to the initial question:

Where can a designer improve theatre processes and effectively implement digital technologies?

  • In fostering sustainable theatre productions, addressing both material usage and the redesign of work processes.
    -> The challenge lies in striking a balance between the creative expression of set and costume designers, the desire to create something unique, and concurrently ensuring the sustainability of the production without solely relying on existing resources
  • Enhancing the network between theatres at the regional level and individual artists
  • Improving the orientation of apprentices in areas where a thorough introduction is challenging due to time constraints, such as in the field of stage construction
  • Promoting appreciation for craftsmanship and conveying theatre processes
by leonie.dunke -

9 | Theatre in the digital time

Through an additional course in the first semester of my master’s program, I came across a fascinating podcast that delves into the production of historical costumes in theatre and the origin of the materials used.

Having primarily focused on digital support in stage design production in recent weeks, I now wish to shift the spotlight in this blog post to another area of theatre: costume design. In doing so, I aim to share the insights and information I gained through the mentioned podcast.

Introduction

Costumes are not mere garments; rather, they express stories, transform actors into unique roles, and are as essential to a theatre production as the stage design. They unveil the personalities of the characters and their development throughout the story. The creation of a costume involves careful steps, coordination, and the harmonious collaboration of numerous professionals. The following information poster provides fascinating insights into the process of costume design and focuses on the management and origin of the materials used.

Involved Individuals:
Costume Department: 120 People Production: Milliners, Cobblers, Tailoring Teaching Workshop Procurement Fabric Storage Costume Stock Costume Assistance Production Management Dressers

Costume Creation Process

Script Analysis:
The initiation of a new costume design begins with the selection of a play by the artistic director and the dramaturge. Subsequently, a director is chosen, who makes decisions between costume design and stage design. The directorial team, consisting of these three key players, then develops the concept for the play. At this point, the costume designer has the opportunity to develop costume designs in close or broad collaboration with the director.

Design and Development:
The starting point for the development of a costume idea is an in-depth analysis of the script. It is crucial that all characters are appropriately dressed, and initial ideas must be captured in costume sketches. The goal is to create a coherent costume dramaturgy that visually influences the production. After extensive studies of milieu and eras, the costume designer creates sketches, figurines, collects inspirational material, and creates mood boards. These serve later as visual aids for the director as well as the scenes and makeup artists. In joint discussions, artistic intentions are aligned, and potential costs are calculated. After this phase, the costume concept is reviewed and further developed.

In the development phase, there is room for interpretation as the costume designer explains the character and allows for various interpretations and designs. This profession requires a solid understanding of garment construction techniques. The costume designer must empathize with the costumes to understand how tailors developed historical costumes without concrete references. Alongside pattern making, detailed discussions follow, including the search and procurement of materials.

Production:
Although the costume designer does not sew, they take the necessary measurements of the actors and create patterns. In addition to artistic direction, other professionals such as costume supervisors, cutters, tailors, milliners, or armorers are involved in the creative process. The costume designer organizes the required costumes and accessories according to artistic specifications and within the budget allocated for costumes. They oversee the production as well as all fittings.

Staging:
During performances, dressers mainly take care of the artists, managing costume changes behind the scenes and making last-minute adjustments.

Storage:
After the production concludes, proper storage of all costumes in the stock is necessary to use them for other productions.

Where Does the Material Come From?

Garments possess a distinct characteristic and design language that has evolved significantly over time. In theater, these essential components must be reproduced according to each production’s requirements. The challenge lies in finding original fabrics and unique pieces that genuinely date back to the respective historical period.

Custom-Made Fabrics
Often, the fabric desired by the costume designer must be specially produced or purchased. Custom-made fabrics are labor-intensive and less sustainable.

Costume Stock (Fundus)
A solution to this problem is provided by material and costume storage. Already crafted costumes are stored here, allowing them to be reused in subsequent productions and potentially adjusted to fit the requirements of each new play.

Donations
Theaters also accept donations from individuals. Discarded but well-preserved garments from past decades are valued since they preserve both the fabric and the character of each individual piece.

Conclusion
For flexible collaboration and efficient production in a short period, early planning is of paramount importance. Smooth internal, cross-departmental communication is essential. Production and artistic teams require sufficient time to immerse themselves in the play and develop the concept with high quality. This becomes especially crucial when opting for Fundus costumes or producing custom-made items due to sustainability considerations.

Ressources

by leonie.dunke -

8 | Theatre in the digital time

Project: Hybrid-real stage spaces

This project looks at how real and virtual spaces can work together in performances, with a focus on how audiences engage with musicians or performers. Through the creation of the VR performance „Spatial Encounters,“ they are exploring how blending physical and digital spaces can be a powerful tool for designing unique and immersive experiences. Additionally, their goal is to understand how artists collaborate in performances, specifically in the realm of musical experiences.

This special space combines real and digital elements to explore conversations between music, people, and surroundings, breaking away from traditional concerts. Participants can immerse themselves in the music without having a traditional front-facing setup. It aims to create new interactive dialogues between sound and visuals, inviting participants to focus on a unique way of listening.

Various virtual landscapes generated with VFX form the basic setup. Musicians and up to nine participants can interact simultaneously in this space. Visitors interact with their own avatars or others, influencing the virtual space. At the same time, the musical composition by the artists affects the virtual space, creating a mutual interplay between musicians and participants that constantly evolves.

The main focus of the project was on the questions:

  • How do users behave alone or in a community in different contexts, media, and formats?
  • How much influence do we allow users, and how much interaction is possible and necessary?
  • How can we transform passive viewers into active creators?

Special attention was given to ensuring a successful performance by emphasising spatial safety. Overlaps must exist in both virtual and real spaces, clearly indicating that one can move safely in the real space.

Project: Augmented reality as a communication tool

The project aims to address communication challenges in theater refurbishments and cultural venues by leveraging XR (extended reality) technologies. Traditional tools like drawings and models have limitations in conveying the complexities of spatial situations in theaters. Collaborating with experts, the project explores scenarios for renovation planning and discussions on stage productions, aiming to answer questions about presenting architectural transformations, integrating augmented reality into physical scale models and drawings, and digitally supporting planning processes using XR technology for seamless communication among stakeholders.

Basis:

Complex construction projects, including new builds and renovations of theaters and cultural venues, pose significant communication challenges. Traditional tools in architectural visualization, such as 3D views and animations, often fall short in conveying the overall spatial context. While physical models aid spatial understanding, they may lack flexibility. The need for interactivity and flexibility highlights the demand for improved communication methods.

Key Questions:

To what extent can digital technologies like Augmented Reality support communication by adding digital layers to built-scale models, drawings, and physical spaces, presenting complex architectural transformation processes comprehensibly?

Task:

In the refurbishment of the Luisenburg Festival’s natural stage, digital tools were employed to enhance the communication of the complex system structure of cavities, corridors, and stairs in the planning process. The goal was to involve all stakeholders in the decision-making process and convey the highly complex planning process in an understandable way for prompt decision-making.

Implementation:

The AR application was developed using terrestrial laser scans, drone-based photogrammetry, and CAD planning. Users can present three-dimensional content on a floor plan or physical model using a tablet, smartphone, or AR glasses. Physical objects serve as anchor points for digital content prepared in advance. Aspects such as object positioning, scaling, and user interface were considered.

Technical Tools:

WebXR Editor and Viewer

Advantages:

  • Cost savings
  • Improved planning capabilities
  • Location and time-independent planning
  • Consistent presentation regardless of weather conditions and changes in natural conditions due to snow
  • AR as an effective presentation tool for tables, models, or sketches to enhance communication

Opportunities for Digital Tools:

  • Workshop drawings and planning sketches are 2D, but a 3D blueprint is not necessarily required
  • 3D provides advantages in lighting and simulating the sun’s position without waiting for the corresponding time of day
  • Need for professional exchange between festival locations and various stakeholders at the national and international levels.

Ressources

DTHG: Abschluss-Publikation des Forschungsprojektes „Im/material Theatre Spaces“

by leonie.dunke -

7 | Theatre in the digital time

Project: Virtual teaching and learning spaces

The project focuses on the development of digital, interactive training modules within a project unit. Innovative teaching and learning tools have been created for virtual reality. Virtual Reality can significantly contribute to practical learning and the acquisition of experiential knowledge, especially in spatial learning, technical preparation, and avoiding injury risks in a simulated work environment.

The use of a virtual learning space provides the opportunity to make hidden structures visible and facilitates the learning of extensive technical skills in a straightforward manner. Often, the size of learning groups and the temporal constraints tied to a specific location hinder individual experimentation and learning. The listed projects, including the 3D reconstruction of a chain hoist as a construction project for rehearsal stages and the skills training in microphone techniques through the „Sound Space“ contribution, address various aspects.

  1. „Virtual Chain Hoist Exercise“: A VR prototype designed for a theater lab, this exercise involves selecting the right chain hoist, understanding components, and solving context-specific challenges set by a lecturer.
  2. „Safety Signs“: Users memorize safety sign functions and engage in a fire-fighting exercise, choosing the correct fire extinguisher and maintaining the proper safety distance in this virtual learning space.
  3. „Rehearsal Stage Setup“: This virtual space reduces rehearsal stage construction time by shifting planning to the virtual realm, addressing challenges in transforming stage designs into plans using standard materials.
  4. „Sound Space – Microphonation“: Users explore instrument microphone setups in a virtual learning environment, comparing sound qualities in a stage and recording studio, understanding pick-up positions, and microphone types.
  5. „Hazard Detector“: A virtual learning space in a trade fair hall, users test theoretical knowledge with a suspended rig, conducting safety checks and identifying hazards, simulating challenges faced by event technicians.
  6. „Bending Beam“: Using theater objects, this virtual learning space teaches technical mechanics, allowing users to understand the interplay of forces in a simulated trade fair hall, providing real-time feedback and serving as a tool for theoretical teaching.
  7. „Cybertheater 2077“: A learning game immersing users in various technical professions and theater departments, modeled after a pre-university internship, engaging prospective and advanced students, alumni, and professionals in the virtual theater world.
  8. „Let There Be Light“: This VR project teaches lighting technology through exercises in stage lighting, object tracking, and additive color mixing. Divided into theory and practice rooms, it targets students, trainees, and the general public, with flexible upgrades based on specific learning groups or audiences.

For virtual learning to function seamlessly, strong engagement from all participants and flexible adaptation to constantly changing conditions are crucial.

Project: Digital twins of theatre technology history

„CANON“ brings together educators and students from nine European universities to create an open database and teaching approaches focused on preserving the cultural heritage of international theatre technology. The foundation of the project encounters a challenge in teaching the history of theatre technology, particularly due to the complexity of the machineries.

The project’s prototype is crafted for a teaching setting featuring a timeline on a table or wall, allowing the placement of content linked to a media database. This database’s 3D objects can be dynamically visualized in augmented reality, incorporating photos, videos, texts, or diagrams.

The key advantage lies in the ability to visually demonstrate machine functions, utilizing a dynamic 3D representation with sound, video, images, and supporting texts for easy access to theatre history. Integrated into lessons through QR codes and the CANON database, this tool supports diverse teaching scenarios (frontal, teamwork, free work, presentation) with different methods and didactics, including a „guided tour,“ the „explorer“ discovery mode, or the „flaneur style.“

Project: Bringing theatre heritage to life

„Virtual Reality Time Travel Berlin 1927“ is an immersive project that takes you on a journey to explore the history of the theatre. By integrating historical artifacts from Stadtmuseum Berlin and other archives, the project addresses the challenge of making cultural heritage accessible. It also examines how digital tools in archives and virtual reality can bring historical theatre architecture to life. The project, marking the 100th anniversary of the Große Schauspielhaus, offers both an exhibition installation and a freely accessible VR application, providing a unique and spatial experience of the theatre’s history, architecture, and art. The participants are accompanied by one of three virtual characters, each offering a different perspective of the theatre and providing a dynamic exploration the heritage.

Ressources

DTHG: Abschluss-Publikation des Forschungsprojektes „Im/material Theatre Spaces“

by leonie.dunke -

6 | Theatre in the digital time

Im/material theatre spaces

In my last post, I presented a work from the project Im/material theatre spaces, which offers a potential answer to my question about a digital construction rehearsal.

As the project m/material theatre spaces encompasses further works that delve into digital aspects, particularly the theme of virtual and augmented reality in the theater environment, I would like to discuss additional projects as they can serve as inspiration for my own thoughts.

This research project explores the synergy between immersive technologies and centuries-old theater knowledge. They posit that theater and virtual/augmented reality (VR/AR) share spatial immersion and methods, addressing questions of participation and changing perspectives. VR, through complete immersion, opens up new storytelling possibilities, allowing shifts in perspective and embodiment of different roles. On the other hand, AR enriches reality by overlaying it with digital content, creating a fusion between the real and digital worlds.

Research Questions

The project addresses key questions to unlock the potential of VR/AR in theater, exploring practical applications in architecture, stage design, and theater technology. Specific inquiries include the use of augmented reality in planning theater renovations, improving safety standards backstage with digital technologies, and employing immersive technologies to provide innovative access to cultural heritage.

Goals

The overarching goal of the research project is to establish theaters and event venues as ongoing hubs of technical innovation. By investigating the intersection of analogue and digital worlds, the project aims to make these new technical spaces usable for theater practitioners. The focus lies on developing prototypical solutions, communicating findings to the theater landscape, and fostering a sustained dialogue through workshops, lectures, and blog posts. The publication serves as a comprehensive overview of the project’s results, methods, and an exploration of potential future developments in the theater and cultural landscape.

Project: Digital Mounting Systems

Background:

The project addresses the lack of knowledge for assembling and dismantling complex equipment in the events industry. Not everything can be adequately conveyed through training, and many assembly and operating instructions are often impractical or too vague in paper form. To ensure safety during construction, this project aims to develop digital support.

A functional prototype, specifically addressing the AR-supported setup of a curtain rail, has been developed, serving as a practical foundation for further discussions. Through an interactive website, assembly instructions are displayed in detailed steps, supported by 3D animations. The technology allows usage on conventional screens or immersively through Augmented Reality glasses or AR functions on smartphones. The website offers flexibility for future instruction updates without the need for end-device updates.

Feedback:

The digital assembly aid was generally deemed helpful, especially due to the detailed representation of complex steps. Realistic representation was considered necessary, particularly for quick component identification. Usage on a tablet or touchscreen was preferred, while Augmented Reality glasses were viewed as promising for the future. The desire for a personal account was expressed to customize existing instructions. The application could be used for notes and specific solutions within the house or for different productions. It was noted that the application could be useful for additional instructions and the visualization of theater projects. A technical obstacle lies in providing and maintaining high-quality 3D data.

Additional Areas for Digitization in Internal Processes:

  • Inventory control systems
  • Calculation tools
  • Warehousing
  • CRM systems for customer service

How could the project be continued, and what future applications could arise from the initial prototypes? Based on project feedback, the development of an individualized and fully automated creation of stage mounting systems could be pursued. A website could be created, allowing free configuration of a modular rail system. The individualized system could then serve as the basis for the automatic generation of precise assembly instructions.

Ressources

DTHG: Abschluss-Publikation des Forschungsprojektes „Im/material Theatre Spaces“

by stefanie.weber -

#04 Stage/Concert Visuals

Some new ideas for a master thesis topic based on stage especially converts visuals and motion graphics:

Interactive Stage Design and Technology:

  • Exploring the integration of interactive technologies (sensors, motion tracking, etc.) in stage design to enhance the engagement of the audience.
  • Investigating how real-time data can influence stage visuals, such as incorporating audience reactions.

Cinematic Techniques in Stage Productions:

  • How can cinematic techniques, such as camera angles and movement, be adapted for live stage performances. Exploring the challenges and benefits of this approach.

Digital Storytelling in Live Events:

  • How digital storytelling techniques, such as nonlinear narratives or interactive plotlines, can be implemented in live stage productions.

Lighting Design and Emotional Impact:

  • The psychological impact of different lighting designs on audience emotions. How can lighting be used to enhance the mood and atmosphere of a performance?

My inspiration:

My inspiration for this topic were two very previous concerts i visited – RIN and Shirin David. But especially the stage visuals at RIN’s concert spoke to me. I recorded a lot of videos, not only because of the music and the artisit RIN, but because i loved the motion graphics and how his visuals supported the songs and show. There were a lot of interactive aspects, for example often a live camera tracked the artist and projected his silhouette, but different styles were added to the material. At the end of this blog entry are some of my filmed footage – just to document the videos:

Why it it important to have stage visuals:

Having interactive and visually captivating stage elements at a concert is crucial as they play a pivotal role in enhancing the overall artistic expression and emotional resonance of the performance. These visuals go beyond mere embellishments; they serve as dynamic companions to the artist and their music, forging a deeper connection with the audience. Interactive stage visuals create a multisensory experience, amplifying the impact of the songs by providing a visual narrative that complements the auditory journey. In doing so, they contribute to a more immersive and memorable concert experience, making it not just a sonic event but a visual and emotional journey. Furthermore, innovative stage visuals can help artists convey their artistic identity, reinforce thematic elements within their work, and engage the audience on a visceral level. As technology continues to advance, the integration of cool and interactive visuals in live performances becomes an invaluable tool for artists to distinguish their concerts, leaving a lasting impression on attendees and fostering a sense of connection between the performer, the music, and the audience.

Disadvantage? Literature?

Up to this point i found it really hard to find any solid scientific literature in this field. Which for me makes it really hard to have a starting point or more like a theoretic background and the beginning of the master thesis. Some ideas i would have for this problem is to interview artists, potentially some stage visual artists or in general people who did work in this area. For this i would have some connections to a few people who work at Universal Music in Berlin and a friend who already did some stage visuals for an artist, but only to a very small extent.

by leonie.dunke -

4 | Theatre in the digital time

Sustainability in Stage Design Production

As discussed in previous articles, the sustainable management of materials remains one of the paramount challenges in the realm of theater. In my ongoing research, I have delved deeper into stage design production. In this blog post and the upcoming one, I will elucidate how digitization can contribute to making this intricate process more sustainable. Initially, I will shed light on the course of stage design production and explore phases that hold the potential for digital support to enhance sustainability in the production.

Production Process

The creation of a stage design is exceptionally demanding, requiring meticulous planning and extensive coordination. Here is a brief overview of the creative design and production process of a stage design.

1. Preparation and Conceptualization:

  • The process commences with the director’s selection of the play in close collaboration with the theater management.
  • A detailed text analysis, conducted in collaboration with the stage and costume designer and the dramaturge, serves as the foundation for the design concept.
  • During this phase, the requirements of the theater production are discussed, encompassing the play, directorial concept, and other creative specifications.

2. Design Phase:

  • The stage designer develops sketches and concept drawings, which are discussed within the directorial team.
  • Experts such as lighting designers can be involved at this stage to further refine the design concept.

3. Modeling and Presentation:

  • Scale models are created to provide a better visualization of the stage design. These models are presented to the ensemble, and discussions with the technical staff ensue.
  • Based on the design, a budget for stage design production is established. The stage designer also selects suitable materials, taking aesthetics, functionality, and sustainability into account.

4. Coordination with the Technical Team:

  • The stage designer meets with the technical staff to present drawings and models. Technical drawings are created to guide the workshops in producing the set pieces.

5. Construction Rehearsal (Bauprobe):

  • A construction rehearsal is conducted on stage using improvised set pieces. Proportions, colors, lighting, and technical details are scrutinized. Any necessary changes are discussed with the ensemble.

6. Implementation Process:

  • The stage designer oversees the implementation process in the workshops, working closely with the stage manager, technical director, and workshop manager. Furniture and props are designed, selected, and manufactured.

7. Assembly and Setup on Stage:

  • Set pieces and costumes are assembled on stage. The stage designer gets the first glimpse of the finished elements in their designated places.

8. Lighting Rehearsal:

  • The stage designer develops an artistic lighting concept and implements it in a lighting rehearsal. Different lighting moods are tested, with expertise in lighting technology and color blending being crucial.

9. Stage Rehearsals and Fine-Tuning:

  • Stage rehearsals are conducted in the original set, with fine-tuning carried out in collaboration with actors, makeup artists, and costume workshops. Detailed adjustments may be made to costumes, lighting, and set design.

10. Premiere:

  • The inaugural performance of the new play takes place.

Conceptualization Phase / Model Building:

Model building for a stage design involves creating scale models that represent the planned stage design in a reduced form. These models serve as a visual reference for the directorial team, actors, and technical staff during the design and construction process.

Several aspects can play a role in terms of sustainability:

  1. Material Selection: The sustainable choice of model-building materials is crucial. Recycled or recyclable materials could be preferred. The use of environmentally friendly materials minimizes the ecological footprint.
  2. Reusability: If possible, models should be designed for reusability. This is particularly relevant when changes to the stage design are required or when the model can be utilized for future productions.
  3. Digital Models: The use of digital modeling techniques can also be more sustainable. By avoiding physical models made from various materials, resources can be conserved. Virtual models created in CAD programs also facilitate easier collaboration and communication within the team.
  4. Recycling: At the end of the process, physical models should be properly disposed of or recycled. Conscious disposal can ensure that the materials comply with prevailing environmental standards.

What is the Bauprobe?

The Construction Rehearsal, Bauprobe, is the most crucial day in the process of designing and producing a stage set for the stage designer. In the context of theater, a „Bauprobe“ refers to a phase during the preparation and planning of a theatrical production. During this phase, not only are the structural elements of the stage inspected, but also artistic and technical aspects of the stage design, lighting, sound equipment, and other technical elements are tested.

In terms of sustainability and material consumption in theater construction, the following points are relevant:

  1. Stage Design Materials: Stage design often requires the use of various materials such as wood, fabrics, paints, and other decorative elements. The Bauprobe provides an opportunity to examine alternative materials that are more sustainable and environmentally friendly.
  2. Lighting Technology: During the Bauprobe, the efficiency of lighting technology can be assessed. The use of energy-efficient bulbs and intelligent lighting systems can reduce both environmental impact and operating costs.
  3. Set Construction and Breakdown: Material consumption in the construction of stage sets and their recycling or reuse after the performance can be considered during the Bauprobe. This helps minimize the overall environmental footprint of the production.
  4. Transportation and Logistics: Sustainability aspects may also include the transportation and logistics of stage elements. Efficient route planning and the use of eco-friendly transportation can be discussed and optimized during the Bauprobe.
  5. Energy Efficiency: Both the energy efficiency of stage technology and other technical elements can be reviewed during the Bauprobe to minimize energy consumption.

However, the Bauprobe itself must also be designed within the framework of sustainability. Often, existing objects and sets are used to get a rough idea of the desired elements. Yet, the suitable piece is not always available in stock, and new parts must be manufactured. While these will eventually be used in the production, they often undergo changes after the Bauprobe. Material consumption occurs here even before the stage design is finalized.

Considering sustainability and material consumption during the conception and the Bauprobe in theater not only contributes to the eco-friendliness of the production but can also offer economic benefits and promote awareness of environmentally friendly practices in theater operations.

At the end of the posts, I would like to emphasize the guiding question that I aim to address in the next blog entry:
How can new digital technology support sustainable stage design production?

Ressourcen

by leonie.dunke -

3 | Theatre in the digital time

Following my recent conversation with a set designer, the topic of sustainability in the theater takes center stage in my third blog post. Right from the beginning, I addressed the impacts of digitization on theater organization and introduced the concept of a cross-theater, potentially international, repository. The question of how digitization can contribute to making theater more sustainable serves as the starting point for this exploration.

Sustainable practices in the theater span various areas, from conception to execution. It’s not just about how a performance looks on stage but also about how it is crafted and how the entire production process is organized.

The primary challenge lies in responsibly sourcing and disposing of materials. However, it is precisely within this challenge that the opportunity arises to bring new creative and artistic ideas to the stage. In the upcoming sections, we will delve into various aspects of sustainability in the theater.

Sustainable Design 

The sustainable journey begins with the conception of productions. A collaborative effort is made to work on a vision for producing plays more sustainably. It is crucial to understand that the uniqueness of a set design does not necessarily require the construction or purchase of new elements. Sustainable design means intelligently using existing resources and ensuring meaningful reuse or proper recycling.

Model Construction:
In the design process, model construction plays a crucial role. The question arises whether materials can be recycled or if physical model construction can be entirely avoided through the use of CAD modeling and visualization.

Costume Design:
The integration of sustainable principles also extends to costume design. Visualizing costumes in 3D allows for testing different fabrics before making the actual purchase. Combining existing costume pieces or using innovative textiles represents steps toward sustainable production.

Planning and Communication 

The internal organization of theater operations plays a crucial role in sustainability. Effective communication and collaboration reduce working hours, optimize the budget, and create a smoother workflow. Long-term planning phases provide time for construction and material research, while regular discussions prevent unnecessary work and material waste.

The transport of sets and materials requires careful planning. Consolidating schedules, avoiding long travels, and increased use of online communication are steps in the right direction. A well-organized repository catalog reduces the need for frequent repository and material inspection appointments, while timely communication of developments helps minimize material consumption

Sustainable working demands a shift in work practices. It requires more time, leading to adjustments in schedules and budgets. A flexible workflow allows for the effective integration of sustainable decisions. A challenge that can be overcome through collaborative work and a shared commitment to sustainability.

New Tools and Processes

Processes for props, costumes, and set design must adhere to sustainable guidelines. Inventorying the material stock in-house creates transparency and helps avoid the purchase of inappropriate materials.

Conscious Use of Materials: Responsible Procurement and Usage
The primary challenge undoubtedly lies in the responsible handling of materials. Yet, it is precisely within this challenge that the opportunity arises to develop and bring new creative and artistic ideas to the stage.

The procedures for props, costumes, and set design must follow sustainable guidelines. A clear inventory of the material stock in-house creates transparency and avoids the purchase of unsuitable materials. The conscious use of materials also includes the reuse of props and costumes after the completion of a production. Constructions should be designed to be easily deconstructed and recycled.

Environmental Contributions: The Role of the Environment in Sustainability
Even in the conception phase, the avoidance of new materials in favor of recycling sources should be considered. Searching for materials in depots, thrift stores, or second-hand shops opens up sustainable possibilities. An organized and regularly updated repository particularly supports sustainability.

Material Source: The Origin and Afterlife of Materials
A material hierarchy considers the life before and after of each material. In the envisioned circular economy, certain materials can be excluded or considered for alternative uses. The question of the origin and fate of materials when no longer needed is central to sustainable decision-making. The following material hierarchy indicates how each material source affects sustainability.

„Die Kultur ist dafür prädestiniert, sich eine alternative Zukunft vorzustellen und mit dieser Vision zu experimentieren, den Status Quo in Frage zu stellen, die Welt anders zu sehen und die Zukunft mit dem Publikum und Mitwirkenden neu zu denken. Nur wenn die Kultur ihren Teil dazu beiträgt, dass sich die heutige und zukünftige Gesellschaft in Richtung einer nachhaltigeren Lebensweise entwickelt, wird dieser grundlegende Wandel gelingen.“
Creative Carbon Scotland, 2020

Institutions

Bund der Szenographen
GTKos

Ressources

  1. Dillon, Paddy (2022): Green Book; Deutsche Theatertechnische Gesellschaft 
  2. Maier, Florian (2022): Eindrücke vom 1. Forum für Theater und digitale Transformation 
  3. Die grüne Bühne
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