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 

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

StageNoMore is a theatre collective founded in Beijing in the summer of 2014. Our work explores a range of themes related to contemporary society, including digital existence, cyberculture, public discourse in the media, and our relationship to virtuality and reality.

Our collective and members' works have been presented at a number of prestigious venues and festivals nationally and internationally, including the Beijing International Fringe Festival, Shanghai Dramatic Arts Center, Times Museum (Guangzhou), Today Art Museum, X Museum, Hanshan Art Museum (Suzhou), A4 Art Museum (Chengdu), Inside-Out Theater (Beijing), Sound & Fury Play Reading Festival, Wuzhen Theater Festival, Small Theatre Big Drama Asia Dialogue (Hong Kong), Yokohama International Performing Arts Meeting (Japan), Edinburgh Festival Fringe and OFF Avignon.

Through our performances, we strive to challenge conventional notions of theatre and engage with audiences in new and exciting ways. (revised by Ran CHEN in collaboration with chatGPT)

Website

Stage No More

Alcohol is seen as a common language. Gānbēi (cheers in Chinese), achieved by the media of alcohol, is a symbol that represents connection among human beings. Online drinking scenes across the globe create a unique theatrical moment, enabling digital and physical bodies to co-exist in the same time and space. An individual, in front of a lit screen, cheers with people on the screen.

This reminds us of another scene described by Li Bai, a Chinese poet from Tang Dynasty: 

“Then the moon sheds her rays on my goblet and me, and my shadow betrays we’re a party of three.”

In nature, Li Bai, all alone by himself, can only cheer with the moon, an out-of-reach existence and shadow, a close-by emptiness. The poet’s connection to the moon and shadow is echoing with our current connection with screens, and the digital world behind the screen. We all achieve an unusual connection under the circumstances of disconnection.

“Men in our time do not see the ancient moon, but this moon did shine on men of yore.”

The moon inspires Li Bai’s poems, also human beings’ curiosity towards the unknown. Apollo 11 landed on the lunar surface in 1969, and the first drink human beings swallowed on the moon is wine. It was an astronaut carrying out a single man’s communion service before stepping out onto the moon.

The performance is performed by a human and an intelligent robot produced by DJI.

Process and Development

Production Requirements

Performance Documentation

Post-Fellowship Performances: Beijing & Quinhuangdao

Ran Chen

What is the real connection? What are we looking at when we are looking at a screen? Is it a mirror image of us? Is it alienating us from ourselves? How is it reshaping us in an imperceptible way? “Gānbēi” (work-in-progress) is about connection and disconnection, in this fragile moment of the world. “It’s all in the wine”, a Chinese slang, meaning that with the help of alcohol, everything indescribable can be expressed and understood.  In the pandemic era we are all experiencing, individuals are forced to cut connections with society at different levels. An individual, in front of a lit screen, cheers with people on the screen. This performance is performed by a human and an intelligent robot produced by DJI.

RESEARCH PLATFORM

Academy for Theatre and Digitality

Stage No More

Theatre CollectiveFellow

Short Bio

Projects

Contact

External Links