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)

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Tobias Ehinger

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Martin Lizan

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Heribert Germeshausen

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Xin Peng Wang

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Gabriel Feltz

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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

The main question was how to integrate an immersive digital tool into a production. Our focus was to find a strong connection between the technology used in the production and the theme of the performance.

In our performance, we used a special voting application. The audience had the opportunity to influence the course of the events on stage and the fate of individual characters in the performance.

How did the collaborators work together on this project?

At the start, we have created working groups. Since Kolibri Theatre was interested in working with a voting app in their production (Traitor), too, we started to discover the possibilities together with them. Kolibri Theatre had involved Ben Kirman from the University of York as an expert, who had worked before on a similar app (O Bando: Football) that allowed the audience members to vote during the show. At one point in the preparation phase, we decided to use an existing voting app (reaction.link), but Kolibri Theatre continued working with Ben Kirman, who, in the end, created the app for the production from scratch.

In the following months, we worked on the script and the app parallel developing them together.

1. How do we make actually believe they affect the plot and convince them it‘s not fake?

2.We have 340 seats. How do we handle a system this size. How do we handle errors or equal results of voting? We don‘t want people to only be passive observers, we want to drag them into a narrative. How?

Did you use existing software and/or applications?

We haven’t used any existing software; it was all developed by Ben Kirman (University of York) and by reaction.link and customized to our needs.

Did any of your questions or goals change?

The awareness that the performance is to be addressed especially to young audiences was with us from the very beginning. It also directly influenced the decision to think of the audience as an active participant, a member of the Ministry of Love community. Their vote cast through the use of the voting application allows the audience to feel their active role and real impact on the shape and development of the story being told, even when in the end, it turns out that in a totalitarian world the choice is a false one, and everyone - the artists, viewers, art, science and technology, become victims of an authoritarian manipulation, while also showing how totalitarian power works.

What were the key milestones in the development of the production?

In our opinion, it is extremely important that the dramatic material we use responds to the current problems of the young viewer.

Before the production process, we organized focus groups of young people, who were our experts in the selection of topics, texts, and artistic media. It was extremely important for them to have a genuine impact on the course of creative processes.

The performance, dedicated especially to young audiences, is a warning against the tendencies that we may notice in the modern world.

This applies primarily to social and political tendencies, but also to the use of science, education, new technologies, as well as various manipulation techniques aiming to achieve the goals intended by those in power. In this respect, the performance presents the fears of totalitarian tendencies present in the contemporary world.

In what ways was the production a success?

The critical reception of the production is very positive, and interest for the production is more extensive than what the theatre has expected. But our major success is that the production can provoke our young audiences and lead to fruitful discussions about responsibility, decision-making, dangers of manipulation.

What elements of the final production would you change?

We think the production focuses too much on its content and details. We think the audience should more feel actually make an influence the plot and have really an active role in it shaping and development

What advice would you give to artists taking a similar approach?

Give yourself more time to work on the software and find the right balance and more strong connections between the usage of technology and between the content of the production, the software should be an internal part of the plot‘s development not only a kind of a tool.

Is the coding for this project open source? What language was used, what is the function of this code, and where can we find it?

The coding is not open source; it is entirely reaction.link

Team

Interaction Design Studio Head, Academy of Fine Arts Krakow

Kamil Kamysz

Ben Kirman

Piotr Froń

Katarzyna Minkowska

Based on George Orwell's dystopic novel, in which the individual is deprived of freedom in every possible way, this performance - dedicated especially to young audiences - is a warning against totalitarian tendencies we may notice in the modern world. Through the use of a special voting application, the audience had the opportunity to influence the course of the events on stage and the fate of individual characters in the performance.
___________________________________________________________
A Teatr Ludowy production as part of the Creative Europe project PlayOn! in collaboration with Kolibri Theatre and the University of York

1984: Ministry of Love

App/UI Design

What questions did you have at the start of this project?

Can new technologies be integrated into a theater production in an unusual and useful way? In which way can we include technology in a "normal narrative“ to make a story more attractive for young people? How to connect real actions with digital technology to create new content? What technology could be used and who would be responsible for the development? Which of our visions are realistic and achievable?
Is there a chance to get students of the university/digitality in Ålesund interested in the project and include them as digital experts in the
project?



What technology was the focus of the work, and why?


In an early state, it was clear that an app, developed by Ben Kirman from University York, will be used for sure in the show, may be accompanied by other technologies.


What did you hope to explore in terms of technology, form, and content?

The hope was to create a new, unusual level for viewers in relation to new technologies, allowing new dimensions to both the story and the visual experience. We wanted to use digital technology to tell a story from 1904 for young people. With the help of the technology, we wanted to take them back in time and use the immersive technology to bring the young viewers closer to the period, our characters and their life conditions and use the digital passion of young people to make a powerful story more exciting and intense for them and to connect the history with their lives (via technology, they are used to).

How did the collaborators work together on this project? 

Through our previous work in PlayOn! we had understood that a production that wants to use technology needs significantly longer preparation times than a normal production. The whole process started almost 2 years before the opening and the rehearsal process was divided in 2 parts - the first part focused on the decisions for technology took place 6 months before the "normal rehearsal start“. The entire artistic team was involved in the development of the story and app-content right from the start; all steps were discussed in detail. This was very time-consuming and sometimes complicated, as some of those involved were often still working on other projects and found it difficult to clear their heads for Brannen. However, this close collaboration also meant that in the end we found a solution that was acceptable to everyone. It was not the maximum for everyone, but what was ultimately achievable and possible under the given conditions.

What forms of trial and error occurred?  

The rehearsals started with a blog of 2 weeks half year before the "normal  rehearsals“ started. This part was mainly dedicated to the technology. The app was prepared with some main elements and placeholders, so we already could invite test audiences.
The second (leading to the opening) blog started with testing the technology (unusual for the actors) and was also including test audience. Regularly till the opening we invited test audiences, which helped us developing the content, but also deciding on practical solutions. Believing that anything is possible was a mislead. Time and effort limits options. In terms of implementation options for an ongoing theatre, not all ideas are good ideas.

We used an existing app: the app had already been used in other Play-ON! projects before and colleagues had good experiences with it. And Ben, the developer, was interested to join Brannen as the digital expert and was willing to customize the app to our needs.
For sound we worked with the «fake-Jørgen» voice to be able to finish the soundwalk for testing, before we did the recordings with an actor. That saved us from doing multiple recordings throughout the progress.

Did any of your questions or goals change, over the course of this project? 

In the beginning, we also considered using AR and holograms during the walk through the city, but all considerations turned out to be unfeasible. This was certainly primarily due to the fact that we lacked digital knowledge in the directing team and were unable to make adequate suggestions for the implementation of technology for our artistic ideas. But the financial constraints also set limits.

The app was of course a very central element. When we started to understand how the app was about to work, it made it more clear what our
possibilities were. The common decision for a story was also central.
The decision for the installation of the "fire room" - with strong projection and an immersive sound collage helped us move forward more concrete.Giving up the use of other technologies such as AR or holograms or microcontrollers. The realization that further digital applications would overburden us - financially, but also in terms of embedding them in the overall concept.

What was the final outcome of the project, and how does it compare to any expectations at the start? 

The director's idea, which was at the very beginning of the project, was completely dropped and replaced by a new story, only keeping the theme
of "life of young girls in the time of the fires".
The constant detailed exchange during the development process of the play, including the discussion of how the technology should be used, demanded considerable compromises from everyone, but in the end also enabled an ambitious production that was supported by everyone.
Despite all the difficulties and setbacks, we put together a project that was unusual for everyone in the team. It gave us insights and showed us the first ways to see what is possible with new technologies. I think it was like a first learning step that gave us a good foundation to build on subsequent projects.

In what ways was the production a success? 

It figures as a great success in many ways: it showed us what is possible and how a project like this can bring people and ideas together. And that our story and characters have grown with us throughout the entire development process. We managed to tell an emotional, powerful story that connects to the identity of the cities in a way that appeals to young people. We connected the old story from 100 years ago with their lives - also using technology. It is difficult to get teenagers interested in theater; the use of technology surprised them and shattered their expectations of theater as something "dusty". Theater was suddenly cool.

It would be great to include more playful elements during the use of the app - and mix it more with "real actions", as we planned at the very beginning. With a little more time to explore the technical possibilities in the rooms at Arbeideren it could be even more extravagant; especially ground floor could have been more integrated with lights and sound. 

If other people were to take a similar approach, what advice would you give?


Acquire as much knowledge as possible in advance for more knowledge about what and who exactly is needed and what might be possible, and in that way take more advantage of new technology.

Odette Bereska

Sara Artang

Cisser Mæhl

Anja Furthmann

"Brannen" captures the horrifying happenings of the city fire in Ålesund 1904 and Molde 1916.
You meet three girls and their art teacher at the day of the fire. The pupils and their visitor class (the audience) are sent home because of evolving of bad weather. At their walks in the city, solving their home work, they experience something that will change everything - forever. 

"Brannen" 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: 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.

___________________________________________________________
A Teatret Vårt production as part of the Creative Europe project PlayOn!, in collaboration with NTNU, Romsdalsmuseet (Historical museum, Molde), Høstscena (theatre festival in Ålesund), VITI (science center, Ålesund)

Brannen (The Fire)

Teatret Vårt

What questions did you have at the start of this project?


How can we open up the theatre to the audience and give an insight behind the scenes without having to enter the building in a both educational and artistic way?
Can we use an app to bring the creation of a play closer to the audience?
Is it possible to present all the trades digitally and make them tangible?
How to create a theatrical experience in a city area?

In order to open the theatre digitally from the outside, a solution had to be found that could be used by an audience of around 400 people at the same time without great effort. It was therefore decided to rely on augmented reality, which can be easily implemented on a smartphone using an app.

To ensure that the outdoor experience was not limited to a single point, several points in the city were defined that could be explored using geo-tagging. In addition, the solution had to be sustainable so that it could still be used in the future.

What did you hope to explore in terms of technology, form, and content?


We wanted to create an app or a web-based solution that we could expand as required, especially with regard to creative content.

How did the collaborators work together on this project?


The framework and ideas for the content and the form came from the theatre and the digital artists in close cooperation. This took place in personal discussions, meetings and test runs.

The app solution soon turned out to be too cost-intensive and could not be implemented due to data protection concerns regarding our young audiences.

The geo-tagging for the respective stations within the old town in particular was often a trial-and-error process.

For the map used in the game to navigate to the different locations and the basis tool, we used 8th Wall by Niantic.

Did any of your questions or goals change, over the course of this project?


Definitely. Switching from the app to a web-based solution was the biggest change. There were also changes to the content that had to do with the scope of the original idea.

What were the key milestones in the development of the production?


The decision in favour of the web-based solution and the first stable test runs.

What was the final outcome of the project, and how does it compare to any expectations at the start?


The end result was a (more or less) stable online game that up to 200 people could play at the same time. The augmented reality elements ran smoothly and provided a nice insight into the creation of a stageplay. We were able to reach the target audience very well with the game on the smartphone.

In what ways was the production a success?


The greatest success lay in its playability across different operating systems and smartphone-types. The barrier of entry was especially low, as there is no need to download an app, since the project is webhosted.

What elements of the final production would you change?


The usability which could be slightly more intuitive – especially in the onboarding-phase.

If other people were to take a similar approach, what advice would you give?


Decide early on whether the game should be app or web-based. This decision has great implications on what sort of interactions are possible. Then it would be good to work specifically on the respective stations for geo-tagging to ensure that the tracking quality is sufficient. Additionally, testing the prototype on a regular basis with a variety of people with different technology-savvy backgrounds is highly beneficial.

Christine Härter

Nele Neitzke

As a digital frame for our production FIRST LOVE – A MIDSUMMER NIGHT’S DREAM we invented a digital scavenger hunt - “DEAR NORA: City as Backstage Area”. In this augmented reality game-experience you are living through your first day as an intern at the theatre, who is guided through different workplaces (which are in this case transposed into the inner city of Linz next to the theatre) and tasked to do little jobs, like helping a choreographer, a director or the workshops.
The game uses geotagging to guide the players through the city and it uses audio and augmented reality elements that can be interacted with. This experience allows the audience to dive deeper into our production, which merges the arts forms of the departments of opera, drama and dance and shows the “how-to” of the creation of a theatrical production.
___________________________________________________________
A Landestheater Linz production as part of the Creative Europe project PlayOn! 

Dear Nora

AR (Augmented Reality)

Landestheater Linz

This collaboration between Ballett Dortmund/JugendTanzTheater and the Academy for Theatre and Digitality creates unusual perspectives for both the stage and the audience.

A 'digital program booklet' accompanies the journey from the foyer to the auditorium and allows the dancers to have their say in advance. In the JugendTanzTheater, non-professional dancers have dedicated themselves to dance and rehearsed for their project several times a week for months.

“Painting is not an aesthetic endeavour, it is a form of magic, destined to be a mediator between that strange, hostile world and us. It is a way to seize power by giving shape to our horrors as well as our desires.” --Picasso


Seven focal points: The chaos in the head finds its way onto the canvas. The suicide of his friend triggers a deep sadness that is reflected in the figures of the Blue Period. It is replaced by melancholy and renunciation in the Pink Period. Then a break with all conventions: Cubism is born. Faces become masks, bodies become geometric figures. For a short time, peace and serenity returned. Life appears like a summer on the beach, cheerful and light. Then the war painting Guernica breaks in, bringing chaos and destruction.

There is no denying that Picasso left his mark on modernism with his absolute sense of beauty, measure, colour and form. All phases of his seventy-plus years of work - as different as they may be - reflect his search for discovery, experience and new development. His great concern was that this path would one day end as if he had hit a brick wall.

For the first time, the JugendTanzTheater has the opportunity to work with music composed especially for this production. Choreographer Justo Moret worked in close collaboration with Tommy Finke (head of the Music Department at Schauspiel Dortmund for many years) to created the sound for the performance's seven phases.

Justo Moret

Fehime Seven

“When I was a child, my mother said to me: 'If you become a soldier, you will become a general. If you become a monk, you will eventually become a pope. Instead, I tried painting and became Picasso.” 
Explaining the world through art - dance - and making it their own was the incentive for the dancers and their choreographer Justo Moret to engage with exceptional artist Pablo Picasso.
___________________________________________________________
A Ballett Dortmund/JugendTanzTheater production as part of the Creative Europe project PlayOn! in collaboration with the Academy for Theatre and Digitality

Picasso

Dance

Theater Dortmund

What happens to the narrative when dissolving the singularity of virtual reality?

How do group dynamics work in a virtual environment?

One technician to run the show (could be the same person)

A mark to help with calibration (optional)

Research Blog

Audio and Game Designer, Performance Artist

Alexander Nham

Gloria Schulz

This is a tool to dissolve the singularity of virtual reality. It has two components. The first one is an app that helps calibrate and connect multiple virtual reality headsets of a constrained physical area to a shared virtual environment. The second one is a supportive software for managing and monitoring of the devices used.

multiVRse

Narrative Design

2020

At the start of this project, our central question from a content perspective was: what is the meaning of theatre within a community? From a technical standpoint, since this was our first experience using augmented reality (AR), our key question was: how can AR technology support us in engaging with our audience while addressing the broader question of theatre’s role in the community?

The focus of the project was augmented reality (AR), inspired by the innovative example of the Honolulu Theatre for Youth. They used AR to give voice to important monuments, highlighting the cultural and historical heritage of native Hawaiian traditions. This approach demonstrated how AR can connect audiences with meaningful stories outside traditional theatre spaces.

We saw AR as a compelling tool to bring theatre beyond its traditional confines and to make our theatre’s content accessible in a new way—outside the theatre building and on demand. This exploration aimed to expand the reach of theatre, creating opportunities for engagement that are more flexible and open to diverse audiences.

The collaboration primarily took place remotely. The work required constant communication among the various collaborators and an ongoing process of testing that actively involved members of the theatre’s local community. This continuous feedback loop ensured that the app was both functional and meaningful to its intended audience.

The main focus of testing was user usability. How could someone unfamiliar with the app intuitively understand what to do, where to look, and how to engage with the experience? It was crucial to gather feedback from actual user experiences, study different approaches, and consider the environmental conditions in which the app would be used. This iterative process allowed us to refine the user interface and experience.

Did you use existing software and/or applications


The project’s key milestones included identifying the content, designing a structure that could accommodate the content while aligning with the chosen AR technology, and conducting thorough testing to ensure the app’s usability and effectiveness.

The final outcome was the creation of an augmented reality app that extends the theatre experience beyond the physical space, making it accessible "on demand" and in outdoor settings. Initially, the project was driven by questions about how AR technology could support theatre's role in the community. While we expected the app to offer a new way to engage with audiences, the outcome exceeded expectations by fostering a stronger connection with the local community through the testing process and by demonstrating how AR could amplify theatre's reach and accessibility.

The production was successful in multiple ways. It innovatively blended theatrical content with AR technology, creating a bridge between traditional theatre and digital experiences. It reached a broader and more diverse audience by making theatre accessible in non-traditional spaces and formats. The app proved to be user-friendly, thanks to the extensive trial-and-error process, and successfully engaged community members who participated in testing and provided feedback. It strengthened our theatre’s connection to its community and sparked conversations about how digital tools can support cultural engagement. 

Rather than changing elements of the final production, we would like to expand its scope. For example, we envision creating a similar AR experience tailored specifically for younger audiences, offering a version of the content designed to engage children. Additionally, we would love to periodically update and vary the content over time to amplify the sense of event, enrich the overall experience, and encourage audiences to return and engage with it multiple times. The structure we have developed is fully capable of supporting such future enhancements, making it adaptable for new iterations and additions.

What advice would you give to artists taking a similar approach?


Involve your community early on: Engaging your intended audience during the testing phase is crucial to ensure usability and relevance.

Prioritize accessibility: Make the app intuitive for users unfamiliar with AR, and design experiences that can adapt to various environmental conditions.

Collaborate consistently: Maintain open and constant communication among collaborators to navigate challenges and align on goals.

Be flexible and embrace iteration: AR projects require experimentation. Use feedback to refine both technical aspects and user experience.

Focus on storytelling: Keep the content meaningful and closely tied to the mission of your organization, ensuring that the technology supports rather than overshadows the message.

Giuditta Mingucci

ELSINOR AR is born: not an event, but a great novelty ready to stay with us permanently. An app downloadable from the main stores for smartphones and tablets, which allows you to enjoy an Augmented Reality experience in front of the Teatro Testori, which has been active in experimenting with art and technology for years. 
___________________________________________________________
An Elsinor Centro di Produzione Teatrale production as part of the Creative Europe project PlayOn! 

Elsinor AR

Elsinor Centro Di Produzione Teatrale

Our third PlayOn! production is a game in which we discover both the history and mysteries of Nowa Huta, legendary district and our everyday environment. We want our viewers, or rather gamers, to follow the Ludowy Theatre history guided by iconic figures like former theatre directors, first Nowa Huta builders, or our next-door neighbours. The game is powered by a mobile application which give special tasks to reach the levels and achieve awards. The final of this game take part on the theatre stage, and it will be final match. The gamers are the actors and the actors are the masters of this half-real, half-digital ceremony.

Welcome to the LARP convention, which takes participants to Nowa Huta in the 60s. It is a combination of theatre and games in which viewers become active participants and have an impact on the plot. Each will play a different character and together with the others will try to solve the mystery. The plot of the game takes place in Nowa Huta in the 60s. The participants-heroes are aimed at finding an antidote to a strange afflicted that affects the inhabitants of Nowa Huta – they stop recognizing their loved ones, they do not remember their faces.

No one knows who has an antidote. There are different guesses. The mysterious Doctor S in Nowa Huta, in his underground laboratory? How about Doctor F At the Bronisława Sunny estate? A medium predicts the future, which can become joyful again if you get to information about the ancestors of Nowa Hucian buried in the graveyard. Grażyna, the manager of Stylowa, believes that it is best to meet in your group and talk, and not look blindly and based on some conspiracy theories. But how do you do that? Where to start and who to trust?

LARP (English: Live Action Role-Playing) is a combination of the game and art in which players themselves create a story under the leadership of the Game Masters. Each game is different, because it is the participants who decide in which direction the plot will be guided.

 in the LARP convention is an initiative of the People’s Theatre implemented as part of long-term international cooperation in the PlayON project! New Storytelling and Immersive Technologies. Its aim was to find new forms of narration for performances and theatre events that dialogue with the sensitivity of the contemporary young viewer.

The performance presented as part of the Opening Festival.
The Patron of the Theatre Youth Institute is the ZUE Group.


Application Information Architecture, UX writing: 

Magdalena Zarębska-Węgrzyn

Nowa Huta - 70 Years Later is based on true stories given by the oldest inhabitants of Nowa Huta. We want to make their story heard again and connect them with the next generations who are living in this place. The application will be the tool to know each other and to meet in this special moment of history, on the eve of the 70th anniversary of Nowa Huta and Ludowy Theatre.
___________________________________________________________
A Ludowy Theatre production as part of the Creative Europe project PlayOn! 

RESEARCH PLATFORM

Academy for Theatre and Digitality

Nowa Huta – 70 Years Later

Magdalena Zarębska-Węgrzyn

App/UI Design
completedPlayOn!

Introduction

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Nowa Huta – 70 Years Later

Magdalena Zarębska-Węgrzyn

App/UI DesigncompletedPlayOn!

Introduction

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App/UI Design
completedPlayOn!