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

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

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

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


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

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


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.

How did the collaborators work together on this project?

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.

Team

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.
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A Ballett Dortmund/JugendTanzTheater production as part of the Creative Europe project PlayOn! in collaboration with the Academy for Theatre and Digitality

Picasso

Dance

App/UI Design

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?

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

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 processand by demonstrating how AR could amplify theatre's reach and accessibility.

In what ways was the production a success?

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. 

What elements of the final production would you change?

Rather than changing elements of the final production, we would like to expandits 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 duringthe testing phase is crucial to ensureusability 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. 
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An Elsinor Centro di Produzione Teatrale production as part of the Creative Europe project PlayOn! 

Elsinor AR

AR (Augmented Reality)

Our third PlayOn! production will be a game in which we will 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 will be powered by a mobile application which will give special tasks to reach the levels and achieve awards. The final of this game will take part on the theatre stage, and it will be final match. Gamers will be actors and actors will be masters of this half-real, half-digital ceremony.

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.
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A Ludowy Theatre production as part of the Creative Europe project PlayOn! 

RESEARCH PLATFORM

Academy for Theatre and Digitality

Nowa Huta – 70 Years Later

App/UI Design
completedPlayOn!

Introduction

Similar Projects

Nowa Huta – 70 Years Later

App/UI DesigncompletedPlayOn!

Introduction

Similar Projects

App/UI Design
completedPlayOn!