is the knowledge-sharing platform for the 

. Explore the experiments and bold ideas behind the Academy's Fellowship programme, delve into the science behind the projects of our HIDA researchers, and explore the results of international collaborations.

is a platform for discovery and documentation. Each 

showcases a unique artistic-technological research project, with topics as diverse as the use of AI in theatrical design, choreography for and with robotics, and the possibilities for theatre in virtual spaces. Each 

 offers the chance to learn more about the members of our artistic research network. By pooling our knowledge in such a way, creative research into theatre, performance and digital technologies can become more accessible, sustainable, and artistically innovative.

Funded by the Federal Cultural Foundation, the Academy will award a total of 54 fellowships between 2019 and 2022, each lasting for five months. The 

 are designed for people interested in artistic-technical research which explores the possibilities for digital narratives in theatrical spaces, as well as their practical implementation. Fellows have researched a variety of digital methods (motion capture, coding, XR, VR, AR, sensor technologies, robotics, and more) across artistic fields including opera, dance, orchestra and drama. 

Helmholtz Information & Data Science Academy

(HIDA), the Academy for Theatre and Digitality has offered joint research fellowships at the interface of digital art and cutting edge scientific research since 2021. The HIDA fellowships are kindly supported by the 

PlayOn! New Storytelling With Immersive Technologies

 is a larger scale cooperation project, funded by Creative Europe, designed to understand, learn, test and apply immersive technology to theatre, in order to shift classical storytelling to interactive narrative formats.

Artificial Intelligence

VR (Virtual Reality)

Interactive

Sound Design

Projection/Mapping

3D Printing

XR (Extended Reality)

AV (Audiovisual Design)

Theater Dortmund
Theater Karree 1-3
44137 Dortmund
Germany
Fon: +49 (0) 231 226 14330

Address and location of the Academy for Theater and Digitality:
Speicherstrasse 17
44147 Dortmund
Germany

E-Mail: akademie@theater.digital
Web: theater.digital

Tax number: 314/5702/9367
Sales tax identification number: DE 124643894

Management Team:

Executive Director
Tobias Ehinger

Administrative Director
Martin Lizan

Director of the Opera
Heribert Germeshausen

Director of the Ballet
Xin Peng Wang

General Music Director
Gabriel Feltz

Artistic Director of the Schauspiel
Julia Wissert

Director of the Children's and Youth Theater
Andreas Gruhn

Director of the Academy for Theatre and Digitality
Marcus Lobbes

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Fellowship

HIDA

PlayOn!

discover cutting-edge digital research in theatre and performance 
meet our research fellows and collaborators in the 

Portal: Academy for Theatre and Digitality

Florencia Alonso

GlitchMe is a laboratory of witchcraft around composition of scenic objects and decomposition of algorithms invoking a network of feedback loops. Digitality can become dreams moving and interacting in multiple spaces in a non-linear time. Through feedback loops we create windows that can open new possibilities to narrate distorted and “glitched” worlds. 

Part of the project is a performative installation; its components, such as projection of live-coded visuals, servo motors, scanned 3D models, strings aligned as the warp of weaving, crumpled paper, laser-cut pieces, algorithmic and reactive sound from speakers, exhibit not only traces of making but they live together to create a landscape. Everyday, the artist duo dismantles and builds the installation all over, working with the dump: the storage. What is left is important to use; the trace of something, in this sense, is a treasure for us. We collect trash, take 3D scans of spontaneous scenes that appear on the street, for example an abandoned bicycle hanging on a tree. We write code, we read and write texts, then describe with words on whiteboards, and also sketch scenes with objects and lights on a possible stage.

This project is a collaboration by Florencia Alonso, Naoto Hieda, Jorge Guevara, Olivia Jack and Annique Nahumury (Terror Kittens). 

We wonder about this process of research, which led us to the question about the relation between humans and machines. Absence and presence of the body, or machines as an extension, a lot of cameras live streaming or just recording that creates multiple points of view, besides the scenic physical one.

We create scenic objects that dialogue with virtuality, reflecting or mirroring. Paper and projection mapping are built through code, we aim for conversation between immaterial and material things. We try to move and interact with the bodies in the presence but also virtual bodies.

After 2 years of online collaboration, we started a fellowship at Academy for Theatre and Digitality in February 2022. As a niche practice to perform with programming on stage, live-coding is rather a new practice in digital art. The artists push the limit of live-coding by applying it to the entire creation process; the visuals, sounds, kinetic motor movements and lights are also live-coded, and the practice bleeds into drawing, weaving, printing, and cutting. The practice manifests decolonization from the productive and design-centered process of technology, namely hacker witchcraft. To practice hacker witchcraft means to alter what is given, bring new usages or meanings to reality that doesn’t fit for everyone. In this sense working with a glitch means to find the beauty in what is not perfect and should not be either. 

In literature, there is ‘magical realism’ and this means not to talk about mimesis in a story, but to find the magic in common things, something that in daily life sometimes it is hard to see. 

Dreams in this sense, do the opposite way, symbolism and objects from reality appear in a world that is not real.

Hydra

Live Coding Jam

Dome

Dump

Whiteboard

Objects

Playfulness

Next Steps?

Naoto Hieda

GlitchMe3D pushes the limit of live-coding by applying it to the entire creative process: visuals, sounds, kinetic motor movements and lights are live-coded, and the practice bleeds into drawing, weaving, printing, and cutting. The practice manifests decolonization from the productive and design-centered process of technology, namely, hacker witchcraft.

RESEARCH PLATFORM

Academy for Theatre and Digitality

Florencia Alonso

Fellow

Projects

Contact

External Links