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
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Management Team:

Executive Director
Tobias Ehinger

Administrative Director
Martin Lizan

Director of the Opera
Heribert Germeshausen

Director of the Ballet
Xin Peng Wang

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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

I am a trained puppeteer with a background in electrical engineering. In my artistic practice, I like to combine these seemingly separate domains of knowledge into engaging theatrical work. 

My work spans from classical, analog puppetry to little autonomous cardboard robots arranged in a puppet-installation. Beyond theater, I like to explore textile art and its possibilities when combined with technology. In 2020, I produced several woven speakers that were shown at Kunstmuseum Bochum in 2021 and the Art Space festival in Bremerhaven.

Website

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Yvonne Dicketmüller

 in Dortmund I have been researching the possibilities of 3D-printed costumes. That is costumes that are produced entirely with the method of 3D-printing.

At the beginning of my research I first familiarized myself with both the material that I was going to use: flexible 

, and the machine with which I was going to work: a 

 3d-printer. Next, I started to learn to design with the software which I had chosen for my project: 

I printed several sample pieces of the designs that I made. All of them were roughly 12 cm x 12 cm and had varying thicknesses.

By printing and then handling the samples, I built an understanding of the material properties a 3D-printed costume would have. I learnt that some of my designs, when printed out, behaved more like woven fabrics while others had the feel, touch and textile qualities of knitwear.

3D-Printed Costumes Based on Regular Sewing Patterns

After I had built a first understanding of how I could design and print my own TPU-fabrics, I went on to explore how I could print a complete garment that could be worn by an actor or dancer on stage. I decided I would try to use a regular sewing pattern, digitize it so that I could use it in Rhino, and then print out the different garment pieces one by one. Given the compact size of my printer's print-bed, I had to print some of the larger parts of the garments like sleeves, front or back parts in several pieces that I later fused together.

The first costume that I 3D-printed in this way was a skirt, followed by a tank top.

With the tank top I learnt that I might need to make adjustments to the regular sewing patterns if I wanted to create fully functional 3D-printed garments. Unlike the regular tank tops which are made of stretchy knitwear and stretch sufficiently when you put them over your head, my tank top was designed with a pattern that resembles a woven fabric. Accordingly, my 3D-printed tank top didn't stretch enough to fit over the shoulders. 

After this experience I started to think of ways to make my 3D-printed garments more “wearable”. I explored ways of integrating regular zippers and buttons into my 3D-printed costumes and eventually developed a new top with a zipper and a button in the back.

3D-Printed Costumes Based On A Pattern Derived From An Existing Garment

Using an existing garment - in this case a jacket - I tried to derive a pattern that I could then use just like the sewing patterns above to make a 3D-printed piece of clothing. I traced the outlines of my jacket, made a paper model which I then photographed and imported to Rhino. In Rhino, I decided on D-print the individual garment pieces.

After about one week of printing time, I held all the pieces of my jacket in hands. I assembled the jacket and made adjustments where necessary.

3D-Printed Costumes Based On The Draping Technique

Towards the end of my research, while I was printing the jacket, I started to explore the technique of draping. At that point I had already printed one of the sleeves of the jacket and thus had a large piece of 3D-printed TPU-fabric lying around. With this fabric I approached my mannequin. I draped the 3D-printed textile over the body and explored how I might be able to make a top. 

With the draped sleeve-fabric pinned into place, I took measurements and made my very own sewing pattern curves directly in Rhino. I went on to print the pieces - one front and one back piece - and went back to the mannequin with them. I pinned the front and the back of my new top onto the mannequin, then I started to develop some ideas as to what the sides of the top might look like. I designed the side pieces in Rhino. Once printed, I assembled the top.

The 3D-printed costumes that I made during my fellowship have their very own aesthetic appeal. They have a lace-like appearance, a soft touch and feel nice even when worn directly on the skin. Printed with a rubbery material, TPU-filament, they are a little more on the bouncy side which helps to make the garments “come alive”. At the same time the 3D-printed fabrics can have a certain stiffness so that they can refuse themselves to certain movements. I find this to be a very interesting characteristic, and I am hoping to explore this further in future projects with actors and dancers.

If you want to learn more about my project or f you are interested in a collaboration, please feel free to contact me: 

Yvonne Dicketmüller's fellowship project focuses on 3D-printed theatrical costumes. The goal is to explore modern manufacturing techniques, including 3D-printing, new materials and design software, to generate new aesthetics for the field of costume design.

RESEARCH PLATFORM

Academy for Theatre and Digitality

Yvonne Dicketmüller

Puppeteer, Electrical EngineerFellow

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