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

Born 1985 in Trondheim, Norway. Masters degree in Performance Studies from University of Oslo. Approached theatre through dance and music. In theatre she has worked as freelance dramaturge and director, with performance groups and at theatre houses. She was in-house dramaturge at Trøndelag Teater (Trondheim, Norway) 2014-2016, and Den Nationale Scene (Bergen, Norway) 2016-2017.

Teatret Vart

Vera Krohn Svaleng

Team

Inspired by several dystopian novels and “The emperor’s new clothes” by H C Andersen. New clothes is a big issue in this emperor’s rule. He is a popstar who sings concerts as often as possible, wearing his brand new clothes. 

We are in a utopian universe were there are no diseases, no sorrow, no anger, no boredom, no unpleasantness. The audience is invited in to the palace of the emperor attending a consert of the popstar emperor. The theatre audience are invited in to the heart of the palace, where the emperor is greeted and where he sings his clothes at any hour. Suddenly, someone from «the outside» appears as a visitor. She has a sort of mystery quest within a fairytale utopia. She is looking for her family and for christmas, both of them has disappeared, in her opinion. It turns out that both her family and christmas itself has turned unrecognizable, stashed up with fake or plastic extravaganza. Will she be able to reveal them, and what about her own secrets? Even though people want to prevent her from it, she tries her best to solve all the mysteries.

Through a specifically interactive game within an immersive audio-landscape, with robot vacuum cleaners contributing to the immersive experience and replaying things that are said/sung/played in the room, the audience will be involved in and confronted with several ethical problems and choices during the performance.

Lovely Planet

Game Design

The Fire is an interactive theatre-event in two cities. Both cities have experienced big fires: Ålesund (1904) and Molde (1916). The performances are built upon the same research but are fictive material and will be adjusted to local conditions.

The Fire is made for an audience aged 12+ but is likely to also be for an adult audience. The performance consists of three parts. Part 1 and 3 are located in the theatre, and in Part 2 the audience leaves the building and is guided in the neighborhood by a smartphone-app, making their way to an exciting discovery.

Our hybrid theatre walk through the cities playfully connects sensual experiences with useful information. Depending on certain answers, different ways to reach the aim shows up. But all the routes lead to the final event for all participants: a coming together in the theatre as a real event including the young rescuers as active participants, not just as spectators.

An unusual experience for the young people, using their close connection to their smartphones to tell them an emotional story of three girls, whose life was shaped by a tragic event. An event that lives on in the minds of the current residents of the cities and still shapes their identity.

Brannen (Fire)

 we wanted each character to have their own soundscape that moved with them. 

We discussed how to do this in workshops and with ourselves in detail, and after considering and testing microcontrollers we chose to use a system of Ipod touches connected to a portable wireless access point. 

Then we used OSC to trigger each Ipod. Using Ipods also enabled the actors to control their own sounds if required. Portable lighting was also embedded in some costumes and props using small portable wireless LED controllers. 

This also enabled us to integrate the lighting into a show where each character carried soundscape together created one overall atmosphere of lighting and sound.

Eline Øverby

The dream game: a magical journey of discovery
A mysterious journey where adventurous costumes, lighting, music and technology create exciting surprises. What is dream and what is reality?

Agnes is almost a teenager. She has ended up in a huge house where a strange little family lives. How did she get here? Inside the house, the strangest things happen, and Agnes meets strange characters - like in a dream. She also meets Alfred and Jenny, who are her own age. Together they discover puzzles and problems that need to be solved. As the pieces fall into place, their view of their surroundings - and themselves - is changed forever.  

In The Dream Game, you are invited on a journey into a universe of colorful characters, where most things are turned upside down. We get the chance to see reality in completely new ways. Life's big and small questions are answered with a child's curious view of the world; accepting life's challenging twists and turns, but at the same time having faith that a miracle can happen.  

Welcome to a theater experience out of the ordinary! 

RESEARCH PLATFORM

Academy for Theatre and Digitality

Vera Krohn Svaleng

Artistic Director Barneteatret Vårt

Short Bio

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