Digital media and technology are ever-evolving, and so is their relationship to theatre. In this section, you can learn about how theatremakers are incorporating media and tech into their art-making and career-building, as well as read New Crit pieces about work created to be shared online. Two interesting series to explore for a sense of how quickly the conversations change are Gwydion Suilebhan’s Techne—essays written in 2013 and 2014—and Performing the Internet, curated by Kate Bergstrom in January 2021. Check out content from the 2019 Digital + Performance Convening for a multifaceted look at this topic!
The Latest
Essay
How to Embrace the Dramaturgy of Creative Caption Design
In this episode, Emma Bexell from Bombina Bombast, a performing arts company in Malmö, Sweden, takes us to the space of gamified society and theatre. Bombina Bombast combines documentary audio, gaming interface, and immersive installation in a Virtual Reality show where audience members can rest with insomniac Swedish gang members—all while criticizing the attention economy.
Disabled choreographer, dancer, designer, engineer, and founding member of Kinetic Light Laurel Lawson talks about performing aerially in a wheelchair, accessibility as its own artform rather than an add-on, and their app Audimance which includes haptic interpretation and sensory modulation.
In this episode we talk with the founding artistic director of Theater Mitu, Rubén Polendo, about the hope for the future that inspired Utopian Hotline—now traveling through space as part of the Golden Record. We also discuss the gore, myth, and puppet-robots with their own point of view in Jodorowsky-inspired Santa Sangre.
Annemarie Hagenaars is an astronomer, physicist, and actress. In this playful conversation with Tjaša, Annemarie speculates about Einstein's famous equations, love, and shares her own experiment that she conducted with her one woman show The Story of the Einstein Girl, where she performs the play four different ways and lets the audience choose.
LaJuné shares about the inception of Black Movement Library: a database of motion capture data from Black folks they created, while seeking to avoid the paradigms of erasure, extraction, and exploitation of Black bodies. In their work, they encourage freedom and personal expression over correct data capture. They believe none of us are just numbers, and to treat our movements in our bodies as just data sets is very harmful.
This week, Tjaša speaks with Josh Corn, a true renaissance man. He uses technology to tell absurd and subversive stories about humanity. Josh built René—the most technologically advanced robotic arm from 2002, who had her own circus act. He also made Field Day Games where you can compete with groups over video call to spill, drop, break, crack, ignite, and burn machines in their studio. Everyone wins except Josh. He has to clean up.
Maud discusses monsters, and the “humanization process”: the idea that humanity asks of us to leave some part of the world at the door and opt in for a very specific, very small part of all that life has to offer. They also dissect the West’s capitalist need to reject the consciousness of inanimate objects in order to participate in the consumer culture.
In this episode, Tjaša chats with director Igor Golyak of Arlekin Players about the power of virtual theatre and the experience of using technology that had never before been used for live performance. And if you were wondering why there was a twelve-foot robotic arm on stage, serving coffee and sweeping the floor in The Orchard at Baryshnikov Center, Igor thinks that’s what Chekhov would have wanted.
We dive deep with Anonymous Ensemble into LIontop: a technologically ambitious installation and multilingual performance that centers on Quechua voices; Google finally translating Quechua; and the mystery of the ancient Incan Quipus.
Guest Heidi Bosivert believes that our bodies are archives of stories and if we can't get those stories out, the whole fabric of society will break down. When she worked in tech, addressing social issues, she had a crisis of faith and figured that bringing people into physical spaces and working with the body might be one way of mitigating deleterious effects of technology. Now, she’s creating a media biogenome.
When utilized fully, social media can function as a critical extension of work being done onstage. Trevor Boffone pulls from his experience as a content creator and social media manager to share concrete steps that theatremakers and theatre companies can use to leverage the unique potentials of social media.
Macy E. Kunke shares the practical steps she took to cultivate more sustainable stage management practices for a recent production of Men on Boats. By utilizing a variety of digital tools instead of more traditional printed paper methods, the stage management team created only a fraction of typical paper waste and found that their work that was cheaper, simpler, and more collaborative than typical stage management processes.
As writer-performer Dante Fuoco and director Clara Wiest came together to rework Dante’s autobiographical solo show SEAL, they developed a process that centered intentional care and trauma-informed practices. In this interview with Rachel Pottern Nunn, Clara and Dante reflect upon the production, discuss the relationship between writer/performer and director, and share insights from their generative process.
Different art forms (such as theatre, film, visual arts, and social media) have often been used to communicate, educate, and promote climate justice issues. This episode offers the opportunity to hear stories of practitioners using their art forms in this era of climate emergency. We focus on theatre practices and digital art forms and ask guests to share their work and that of others from the continent.
Artistic director of Belgian theatre company Ontroerend Goed, Alexander Devriendt talks through their process for imagining and developing participatory content. Alexander and Jeffrey Mosser also dig into financing art in Europe, the cost of touring internationally and how COVID has affected it, and sustaining family and art simultaneously.
Hari Somaskantha and Gitanjali exchange letters discussing their work with Teardrop Collective, a Toronto-based group that centers stories of queer, trans, Deaf, and hearing people of Tamil, Sri Lankan, and South Asian descent.
Morgan Davis and Jules Vodarek Hunter discuss the process of creating Fat Fables, a theatre program for fat LGBT2SQ+ artists who are twenty-nine and under.
Julia Hune-Brown and Keira Loughran discuss crafting Then Is Now, a concept album/video playlist they created through conversations with Chinese Canadian women who grew up in Toronto’s Chinatown during the era of the Chinese Exclusion Act.
When Campo Santo decided to film their production of Star Finch’s Side Effects early in the COVID-19 pandemic, they were embarking on a creative journey that felt entirely novel and a little overwhelming. In this conversation, the production’s directors discuss development of the production’s aesthetic and the generative process they embarked on at the intersection of “film” and “play.
Joseph Dunne-Howrie examines the way that three of Javaad Alipoor’s plays infuse the internet into theatrical performance, creating intersecting narratives that interrogate identity formation in the age of global interconnectivity.
Cyber Attack: Digital Art and Activism is an online conference by NORDWIND in cooperation with FuturePerfect Studio (New York), Denis Semionov, Kampnagel (Hamburg), and Hellerau (Dresden). The opening session Histories of the Avant-garde and Contemporary Disruptive Technologies livestreamed on the global, commons-based, peer-produced HowlRound TV network on Wednesday 16 November 2022 at 9:30 a.m. PST (San Francisco, UTC -8) / 12:30 p.m. EST (New York, UTC -5) / 17:30 GMT (London, UTC +0) / 18:30 CET (Berlin, UTC +1) / 19:30 EET (Bucharest, UTC +2).
Experimentation with Emerging Technologies in The Orchard /an auction/,a Hybrid Theatre Production
Saturday 12 November 2022
Boston, Massachusetts, United States
Join artistic director Igor Golyak and his team of collaborators for a conversation about experimentation; unusual applications of emerging technologies; what they are learning about audience behavior and interactivity; and working with partners across cultures, platforms, and art forms to create live, in-person, hybrid, and virtual theatre. This conversation was livestreamed on the commons-based, peer produced HowlRound TV network on Saturday 12 November 2022 at 12:45 p.m. PST (San Francisco, UTC -8) / 2:45 p.m. CST (Austin, UTC -6) / 3:45 p.m. EST (Boston, UTC -5) / 20:45 GMT (London, UTC -0) / 21:45 CET (Berlin, UTC +1).
Projection designer David Forsee, who brings artificial intelligence into his own design workflow, creates a toolkit for other designers interested in effectively and ethically integrating text-to-image models into their design processes.
Monica Payne recaps the 26th international Gdansk Shakespeare Festival, where artists from around the globe adapted, deconstructed, and celebrated Shakespeare’s plays through boldly contemporary productions.
