In this Webinar for the European Theatre Convention, Franziska Ritter will show different approaches and possibilities based on the research project “Im/material Theatre Spaces” by digital.DTHG, the digital competence centre of the Deutsche Theatertechnische Gesellschaft.
Theatre has always been a pioneer for the development and application of new technologies, it is a place for artistic and technical innovation, experimentation and research. How can immersive technologies such as virtual and augmented reality unfold their potential in front of, behind and on stage – as a creative design tool, as a construction aid for virtual building rehearsals, as a teaching and learning space, or as an extended stage for the arts?
Franziska Ritter is a scenographer, researcher and educator in the fields of art, culture and theatre. After studying architecture and film and photography in Berlin and London she co-founded the master programme Bühnenbild_Szenischer Raum for Technical University Berlin and works as assistant professor. She teaches and researches scenography, theatre architecture and technology at various international universities. She was in charge of the DFG-project »digitalisation of the collection of theatre architecture« in the Architekturmuseum of TU Berlin. In 2019 together with Pablo Dornhege she founded digital.DTHG – the digital competence centre of the Deutsche Theatertechnische Gesellschaft. In the first research project “Im/material Theatre Spaces” they investigated the potentials of Immersive Technologies like VR and AR for theatre. At the moment she is doing her PhD about the Visual Image of Theatre Architecture at the department of art history in the research project Theaterbauwissen. Besides that Franziska is flute player and Artistic Director of 1:1 CONCERTS, the smallest but most intensive concert format ever.
The research project “Im/material Theatre Spaces – Augmented and Virtual Reality for Theatre” has been successfully completed after 2.5 years. This publication summarises the findings of the project and provides insights into the interdisciplinary, practice-oriented research work. Download publication (pdf 8 MB)
What is the relationship between theater and immersive technologies? What spatial, technical and narrative qualities does a medium like virtual reality offer? Which aspects are important?
What dramaturgical and scenographic means do we use to design virtual experience spaces? How can a room be set in motion virtually? And how do visitors immerse themselves in such a moving space? Continue reading “Spatial narratives in virtual reality”
When the audience is integrated into an artistic performance through the use of participatory strategies, the suggested cooperation at eye level often takes place only superficially. The participants are only given limited power to act and are usually involved in the supposedly collective creative process without authorship. Continue reading “Cocreative performances in Hybrid-real stage spaces”
Festivals, as in all artistic disciplines, offer a very good framework in the case of Extended Realities to exhibit new ideas, concepts and works and to make them accessible to a large audience.
What are the different options? From simple to complex, from open-access to high-priced. We give a first overview of different scenarios of the virtual building trial. Continue reading “How to “Virtual Bauprobe”?”
After two intensive research years, the project leaders Franziska Ritter and Pablo Dornhege take a look behind the scenes, draw a summary and glimpse into the future. In doing so, they are asking themselves the same questions that they have posed to their partners in the current project. Continue reading “Insights and Outlook – Interview Franziska Ritter & Pablo Dornhege”
Norbert Richter has been head of the workshops at the Chemnitz Theatre since 2007. For many years, he and his team have been the „digital engine“ at the theatre and are contributing their know-how to the upcoming renovation of the theatre and the move to the interim venue in the Alte Spinnerei. Continue reading ““Eliminate the existing mental patterns!” – Interview Norbert Richter”
The main goal of the sub-project “Virtuelle Lehr- und Lernräume” was to initiate necessary structural changes at the universities. In the long term, access to XR laboratories is needed, such as those currently being established in neighbouring disciplines at the Berlin University of Applied Sciences, as well as dedicated financial and technical resources in the respective degree programmes. In order to work on VR projects, which are fundamentally interdisciplinary in nature, cross-disciplinary cooperation with external partners and academic networks is needed. For this purpose, the „XR Academic Network“ was founded last year at the TU Berlin – also on the initiative of the digital.DTHG – a cross-university network in which academic staff from Berlin and Brandenburg universities regularly exchange information about teaching and research in the field of XR technologies. The challenge in the future will be to create our own flexible structures within the university and to skilfully combine these with external practical knowledge.
Live coding session with Pablo Dornhege and students in small groups via Zoom. Both semesters took place exclusively online due to the pandemic.
In this respect, the two practical seminars at the Berlin University of Applied Sciences were an impulse in the right direction. Project leader and lecturer Franziska Ritter emphasises:
„It was very enriching for all participants to think together so experimentally and openly about how to prepare for the new professional challenges with good digital teaching.“
For many students, this way of working was new, unfamiliar and challenging. Student Lukas Runge summarises:
„Pain is temporary – Glory is forever! Through the seminar, our small team of three students – despite little previous knowledge – was able to get started with the game engine Unity3D in a short time and thus develop a functioning prototype. With our contribution „Sound Space“, you can train skills in the field of microphoning virtually.“
digital.DTHG team and Prof. Rolfes visit an architecture simulation in the CAVE at the Berlin University of Applied Sciences
Student Gilbert Adamek also sums up:
„The last academic year under pandemic conditions was extremely challenging, so it was very motivating to put ourselves in the role of a teacher for once in this seminar and to think about how we would like to be taught in the future. The seminar was extremely varied, from designing a task, to developing a didactic mediation strategy, to coding and implementing (which we had all never done before). And on top of that, I not only learned something in the subject area of theatre technology, but also about agile working, virtual working worlds and game design! It would be great if there were more offers of this kind in the future.“
An essential guarantor for the success of the project was the close didactic-conceptual cooperation with the teachers of the subject areas of the study programme „Theatre and Event Technology and Management“.Prof. Stephan Rolfes, head of the degree programme and professor in the subject area of machine elements and construction exercises, describes the work on the prototypes:
„We developed the first concepts for virtual learning spaces based on existing courses. In the process, the advantages of the technology became apparent very quickly: the possibility of making teaching content tangible, for which otherwise a considerable spatial, technical and also financial effort would be necessary. This is demonstrated, for example, by the exercise on the configuration of electric chain hoist systems, which would not be feasible in „real“ reality: students learn the requirements and safety-related components of electric chain hoists and their controls. They can then configure and use systems in a virtual exercise.“
For Stephan Rolfes, the introduction of virtual teaching and learning spaces is trend-setting:
„The innovative approaches and excellent results that have emerged have shown how sensible it is to continue with VR in teaching, but also in research.We still have a long way to go. At the Berlin University of Applied Sciences, we are currently building our own laboratory for this purpose, in which VR and AR will be used in teaching across all courses.“
Prof. Joachim Villwock, who heads the „CAE and Simulation – CAVE“ laboratory and the project „Interactive Teaching in Virtual MINT Labs“, also sees great potential in the use of immersive technologies in teaching:
„The learning tools presented here are an important milestone in the profiling of the degree programme. Beyond the project, the VR scenarios created form an important basis for further developments in the direction of hybrid teaching at the university. The goal here is to consistently link the possibilities of virtual laboratories with digital teaching and learning concepts and to bring them to the university at large. These innovative interaction formats in the virtual area must be anchored and thus strengthen the university through digitalisation. I was particularly impressed by the maturity of the virtual learning tools developed by the students. It shows how profitable the cooperation between IT experts and specialists in event technology and theatre can be and how quickly applications can be created that can be implemented in practice.”
In addition to the potentials, the cooperation has also made clear which framework conditions will be necessary at the training institutions in the future.Prof. Dr. Alexander Lindau, who has supervised the content of two virtual teaching projects in the field of media technology, states:
„The potential of virtual teaching spaces can only unfold when technical and operating barriers for online or face-to-face users are minimised. We have gained valuable experience in this regard within the framework of the project. In my opinion, a successful integration of virtual teaching into higher education requires long-term investments in personnel and technical infrastructures. Only then can virtual reality fully exploit its advantages in higher education.“
This sub-project and the prototypes created show in a convincing way that this practical type of cooperation requires an agile and creative way of working and the strong commitment of everyone involved in order to be able to react quickly and flexibly to constantly changing conditions. In this way, a new way of learning could be tested together with students and digital teaching could be advanced. Welcome to the future!
In June 2022, the 61st stage technology conference of the DTHG took place in Ulm: with an extensive program of presentations, panel discussions, round tables and lectures, the theatre landscape was finally able to celebrate its industry meeting live again. 71 companies and more than 1,100 guests were on site, got to know each other and exchanged ideas. Continue reading “Presentation at Bühnentechnische Tagung Ulm”
The Bauprobe is an important milestone in the theatre production process, where the participants usually come together physically for the first time in a large group: the artistic team (first and foremost the stage designer, but also the director, costume designer, make-up artist) and the technical team (usually with the technical director, stage manager, lighting, sound, video and workshop manager). During the rehearsal, the stage design previously submitted in the model is marked on the stage – with simple means and standard materials. This enables all participants to see the ideas and dimensions on a scale of 1:1 on the stage and to perceive the overall impression in the atmosphere of the theatre as well as to check sight lines. The Bauprobe is used to discuss and check the technical feasibility and implementation ideas. Depending on the stage design, it is also about the materialities, the use of light and projection.
There is an interesting parallel here to the development process of computer games: There, so-called greyboxing takes on very similar functions, in which all parts relevant to the functioning of a computer game are simulated prototypically. This does not involve the final visual appearance, which is why simple grey cubes (hence the name) are usually used as placeholders for a later level architecture. Based on the greyboxing, the decisions and changes necessary for further work can then be made.
In this sub-project, methods and tools were sought for conducting virtual rehearsals – that is, rehearsals that cannot take place physically in the theatre and on stage, but in virtual space and independent of location. How can VR technology be integrated as a visualization, design, construction and communication medium at the theatre, even beyond the construction rehearsal phase? The basis for our research is this prototypical theatre production process that represents the complexity of the creation process and shows potential intersection points for working with or in virtual reality.
The result is over 30 blog posts on thedigital.DTHG website, providing basic knowledge for beginners, explaining terms, recommending projects and revealing connections. This knowledge has been presented in detail at over 12 conferences and symposia so far. The core of this sub-project is the workshop series „How to go Virtual“, which was conducted in cooperation with associations and cultural venues with the teams of nine different theatres and will be continued.
In this subproject, methods and tools were sought for conducting Virtual Bauprobe – building rehearsals that do not take place physically in the theatre and on stage, but can take place in virtual space and independent of location. How can VR technology be integrated as a visualization, design, construction and communication medium in one’s own work process at the theatre?
For this purpose, we developed the workshop format “How to go Virtual” in order to test possible applications in an uncomplicated way with theaters and venues on site. Together with our cooperation partners, the focus was placed on practice, both in trying out existing applications and programs, as well as in developing theatre specific usage scenarios: for example, adapting a stage design to a different venue, presenting construction variants, or visualizing a spatially particularly complicated design.
The result of the collaboration was a series of workflows and methods that are now being made available to the theater community as guides and tutorials:
This scenario uses the free internet platform Sketchfab to present models. Here, meetings can be presented via screen sharing in a video conferencing tool or made available time-shifted for illustration via a link across different end devices. This scenario does not allow live editing of the Virtual 3D Model during the meeting, but is convincing as a starter scenario due to its easy accessibility and implementation for all production participants.
This scenario uses the free Internet platform Mozilla Hubs with the associated editor Spoke. Meetings can be held simultaneously in the virtual room via various end devices with several participants. This scenario does not allow live editing of the virtual 3D model during the meeting, but is convincing as an entry-level scenario due to its easy accessibility for up to 30 people.
This scenario uses the paid plugin VR-Sketch for the program SketchUp. Meetings and build rehearsals can be conducted in Virtual Space via VR headsets simultaneously with multiple participants from different locations. This scenario enables live editing of the virtual 3D model during the meeting and also offers many other possible applications.
The results, workflows and methods are now available to the theatre landscape via the digital.DTHG website as guides and tutorials. In addition, a comprehensive compendium of „knowledge articles“, glossaries, programme comparisons has been created like a kind of WIKI. The blog articles are already linked to other knowledge platforms such as Nachtkritik.plus and thus reach a large audience.
The knowledge transfer, which was already achieved during the project period in the form of lectures at many congresses and symposia, is currently being carried on within the framework of the newly created „Bildungsbühne“ of the DTHG. Free online impulse lectures and the further development of the workshop series have already been practised by Vincent Kaufmann and the DTHG team for several months.
The workflows developed are largely based on applications that we have adapted for our scenarios, but which were actually designed and developed for other purposes and areas of application. The discussions we have had with software companies such as ShapesXR (Tvori VR) or Vektorworks in this regard give us hope that tools will be developed for the specific needs of the theatre and event industry and application scenarios such as the Virtual Bauprobe.
The CANON project will end in December 2022. Until then, the participating students and lecturers from the partner universities will develop the content for the database in various workshops in Stockholm, Rome and Berlin.
Through the cooperation and practical collaboration, synergies could be created, ideas visualised at an early stage and potentials uncovered. The developed 3D data will be stored and accessible in the CANON database.
The current situation shows how important digital teaching and learning formats currently are and will be in the future at universities, but also in training and learning situations in the theater and event sector. In cooperation with teachers and learners of the Theater and Event Technology and Management course at the Berlin University of Applied Sciences, we have developed prototypical new teaching and learning tools in virtual reality. In a practice- and project-oriented approach, we developed and tested specific scenarios and tried out new ways of learning. The result is a series of digital, interactive training units.
Training institutions, like large theatres, move only slowly. The digital competences needed now and in the future must therefore be urgently anchored in the curriculum of training institutions and universities. Above all, this includes a critical and value-based approach to digitality. Here, new competences are clearly needed in all disciplines, if not completely new job profiles, for example virtual scenography, digital event technology and hybrid real stage work.
The DTHG has already processed some research results for a sustainable further training offer for the theatre landscape and offers online impulses and workshops. Within the framework of the EU programme „PACT FOR SKILLS“ the prototypes are currently being tested and further developed with international further developed.
At the Berlin University of Applied Sciences, two of the prototypes developed are currently being further developed within the framework of the funded project „Interactive Teaching in Virtual MINT Laboratories“. The project, which is funded by the „Innovation in University Teaching“ foundation, started on 1 August 2021. In order to enable students to use their skills in applied, scientific work and carry out experiments despite limited access to laboratories, so-called virtual laboratories were created at the BHT.
Here, students have the opportunity to carry out experiments virtually and step by step before they will then practise them in reality. This has the advantage that material costs are reduced and fewer errors occur. In addition, students can repeat experiments as often as they like, which in turn results in a high learning effect. Additional AR and VR options for gesture and voice recognition offer realistic interactions. The innovative idea of the project is to consistently link the possibilities of virtual laboratories with digital teaching/learning concepts and to carry them into the breadth of the university.
On the occasion of the 100th stage anniversary of the Friedrichstadt-Palast Berlin, the goal was to bring the no longer existing predecessor building “Das Große Schauspielhaus Berlin” and its stage art back into public awareness. The VR project “An Evening at the Großes Schauspielhaus – Virtual Reality Time Travel Berlin 1927” opens a digital experience window into the past: the history(s) of the theater, its architecture and its art can be spatially experienced in the here and now. The special feature of this project: historical objects from the Stadtmuseum Berlin and other archives are integrated into the virtual narrative. In this way, the digital exhibits such as posters, props or stage-technical apparatus convey theater-historical knowledge in a poetic way.
“This VR experience pulls you out of the day. I felt like I was in the middle of the action. Interesting insight into the time of the Golden Twenties. It would be great if this process could be expanded to include other cultural, historical and architectural experiences!” an enthusiastic user writes to us. After all, the project is repeatedly brought to life as a mobile VR production at congresses and symposia. At the moment, there is a seminar at the Technical University of Berlin in cooperation with the Department of Art History under the direction of Prof. Dr. Wittmann-Englert and Prof. Dr. Hopp entitled „Theatererbe virtuell erlebbar machen”, which explores the topics of architectural reconstruction, digital handling of archive objects and narratives in virtual space on the basis of the VR project. The aim is to develop further concepts and ideas for the Großes Schauspielhaus Berlin; at best, these will be implemented in the near future as part of other research projects.
Cocreative performances in analog-digital interstices
The central field of investigation in this subproject is the relationship between physical reality and virtual space and interaction processes between spectators and musicians/performers. With the development and realization of the VR performance “Spatial Encounters” we explored the extent to which the linking of a real/physical space with a digital/immaterial space can be used as a design tool, thus enabling new spaces of experience. The aim was to explore cocreation processes in the context of artistic stagings and performance spaces, with a focus on musical experience.
Interactive user manuals of complex constructions and systems
Highly complex equipment is used in the event sector and on theater stages. The technologies and products used are so diverse that their operation cannot be taught comprehensively in training. In addition, assembly and operating instructions available as paper documents are often too unspecific and – especially in the working environment on stage – impractical to handle. At this point, digital instructions can support the work of stage technicians and create a decisive added value by increasing the readability of digital 3D models.
As a basis for a practical examination of the requirements of such assembly aids and for discussion with the various stakeholders and dialog partners, we created a first functional prototype for the AR-supported assembly of a curtain rail. The instructions – in the form of an interactive website – guide the user through the assembly in ten simple steps after an overview of all required parts used and tools. A short accompanying text (theoretically also possible in several languages) describes the procedures and points out pitfalls. The individual construction steps are stored as three-dimensional animations and can be sequentially triggered, whereby the viewing angle and zoom factor can be determined by the user.
Based on the findings from the first prototype, which was developed for the construction of a specific curtain rail, and in combination with the WebXR editor/viewer application, which was created for the visualisation of theatre architecture, a transferable workflow for the creation of augmented assembly instructions and operating aids was developed. This combination brings to bear the special advantages of an editorial system with an easy-to-use web interface. Thus, manufacturers can compile new instructions from existing 3D modules and publish them immediately. Knowledge of coding and 3D modelling is not necessary. This means that the tutorial can later be transferred to other theatre technology products and elements. A further expansion stage would be the connection to an online configurator in combination with a product library. This way, customers could have their individual combinations of products displayed directly at the respective venue.
Through the development of the augmented assembly instructions, the draft for a utopian, infrastructural concept emerged in collaboration with the cooperation partners, which could not be deepened within the framework of this research project. Building on the vision of a manufacturer-independent database for theatre technologies, the aim is, among other things, to recognise and augment objects or products in order to precisely determine the origin, compatibility, test history and life cycle of a machine or object. Linked to the findings of this research project, these data sets could be used to support safety-relevant work, such as risk assessment, functional safety checks or remote diagnosis and maintenance.
Complex building projects, new buildings and renovation projects for theatres and cultural venues bring great communicative challenges for all involved. Not everyone is trained to read floor plans and many find it difficult to translate a plan drawing into a three-dimensional image. To what extent can digital technologies such as augmented reality be used to support communication on models, on drawings and in real space and to present complex architectural transformation processes in a comprehensible way?
Together with the Luisenburg Festspiele in Wunsiedel we outlined an easy-to-use, „augmented“ presentation format: Using a tablet, smartphone or AR glasses, users can present three-dimensional content on a drawn floor plan or a physical terrain model, for example the current planning status or variants of a stage design. The physical-real objects serve as anchor points for the overlay of digital three-dimensional content. The presentations can be prepared in advance by the presenters and contain a wide range of information. Similar to the slides of a PowerPoint presentation, the presenter and viewer can then click through the different 3D models. The developed application consists of two related components: On the one hand, this is the WebXR editor, in which the „slides“ are compiled and prepared, and on the other hand, the WebXR viewer, which can be called up online to display the presentation. This browser-based and device-independent use allows the same content to be played out in different ways.
The WebXR editor, where the “slides” are compiled and prepared.
The WebXR viewer, which can be accessed online to display the presentation.
Both applications were designed in such a way that they are not only specific to this subject area, but can also be transferred to other areas: Thus, with this application, we were able to develop parallel adaptations for the topics „Augmented Reality in Event Technology“ and „Digital Twins of Theatre Technology History“.
The technical basis for the application is the new WebXR standard, which allows three-dimensional content to be displayed on a wide variety of devices, whereby the type of display depends on the technical capabilities of the hardware. This browser-based and device-independent use allows the same content to be played out in different ways.
Even though the development of the platform within the research project has been completed, the servers will remain online for the time being and our cooperation partners and the digital.DTHG team can continue to work with the application and gain important experience. We also discuss further questions with external stakeholders and outline further use scenarios. Such use cases include, for example, interactive presentations with school classes (for example for theatre education), site and building overviews for the safety briefing of new staff or also the communication of tourist information for an interested public (for example in the outdoor area of a venue).
This leads to an extension of the desired functionality, for example, an option for georeferenced tracking is needed for outdoor use. The development of new applications also expands the circle of possible users. This shows that a further development of the application is also interesting for actors outside the theatre landscape and that independent and usable products and communication tools can be created on the basis of the prototypes.
Ever since virtual reality is a common term and “immersive technologies” can be purchased by normal consumers the exact terms of the technologies are likely to be confused. Continue reading “VR + AR = XR”
Chris van Goethem, researcher and teacher for technical theatre and history at Erasmus University in Brussels at the RITCS School of Arts, started in the 80s as a stage manager with touring theatre companies. By now he is working in two different areas: on the one hand everything that has to do with competences, knowledge management, organising of education programs and structuring international exchanges. Continue reading ““Digital tools are just a reflection on the fact that we want to work together” Interview Chris van Goethem”
The digital.DTHG team visits the theater junge generation Dresden, one of the first cooperation partners in the research project “Im/material Theatre Spaces”. Project manager Franziska Ritter and VR coach Vincent Kaufmann ask about experiences and insights and show how the Dresden colleagues have made it from their first virtual attempts to established digital workflows in their daily work. Continue reading “Interview: “VR is the driving force for us!” digital.DTHG in conversation with theater junge generation Dresden”
Digitization is making its way into almost every field and, with virtual reality, is developing a thoroughly useful tool for planning, organizing and meetings. The listed programs are starting points for spatial design work in VR and allow an easy entry into the virtual world. Continue reading “Quickly recommended: Which software for 3D planning and working in VR?”
What are the latest technological developments? How do we tell “augmented” stories? What are the ethical rules in the virtual world? A number of online magazines and platforms provide insight into technological developments and content discourses, and also keep professionals up to date. Continue reading “Quickly recommended: XR magazines, networks, podcasts”
For a long time, game engines were exactly what their name suggests: the engines that drive the functioning of computer games “under the hood”. Because the demands of interactive and multimedia applications are very similar to those of computer games in other areas as well, these game engines are increasingly being used there as well. Continue reading “Quickly explained: What is a game engine and why do I need it?”
The pandemic has increased interest in digital meeting rooms and the number of tools has also grown enormously. Meetings can now take place not only as a simple video call, but are also conquering the virtual space. Continue reading “Quickly recommended: Virtual Meeting Rooms 3D”
As with buying furniture, the same applies to 3D model building: You don’t have to build everything yourself, but can choose various digital objects in large “furniture stores” to furnish your own theater space or stage set. On the other hand, online platforms help to present and share own 3D models or projects. We provide an overview. Continue reading “Quickly recommended: Stores and libraries for 3D objects”
On October 21, 2021, our project leaders Franziska Ritter and Pablo Dornhege discussed about HYBRID SPACES at the intersection between games and theater and cooked simultaneously at THINK Hybrid Spaces at the DE:HIVE Research Center for Games at HTW Berlin.
From April to July 2021, we were able to conduct a second cooperation with the Berliner Hochschule für Technik (BHT): together with the students of the master’s program Theater and Event Technology, we again designed and prototyped three different virtual teaching and learning spaces in a seminar – this time led by Lea Schorling. Continue reading “Prototypes for virtual learning spaces”
In our project “Hybrid-real stages” we investigate with the VR experience “Spatial Encounters” to what extent the linking of a real/physical with a digital/immaterial space can be used as a design tool and enable completely new experiential spaces. Continue reading “Hybrid real stages?”
“Virtual reality is not for me, it makes me dizzy” is something we hear again and again when it comes to VR. Motion sickness is currently one of the biggest barriers to the spread of virtual reality. How does motion sickness occur and what can I do about it? Continue reading “Quickly explained: Motion Sickness – the reverse seasickness”
In this article we explain the different degrees of movement in virtual space! What does 3DoF and 6DoF mean – and what are the effects?
Find your center: Users control their movements in the virtual world either via the controllers or by means of body position and movement. For this purpose, the movement data is tracked and transmitted. Continue reading “Quickly explained: 3DoF or 6DoF?”
Recently, the article “Making im/material theatre spaces tangible – Exploring collection objects virtually” was published in the volume “Objects on the internet – Scientific collections in digital transformation” by transcript publishing house.
To raise awareness of digital and virtual tools in theater, digital.DTHG created the workshop series “How to go virtual?!” and has now expanded the format for freelance scenographers and set designers.
After the cancellation of the 60. Bühnentechnische Tagung 2020 in Ulm at short notice, we transferred the digital.DTHG trade fair stand into the digital space and documented it on our YouTube channel. Continue reading “digital.DTHG at BTT_digital”
After one year of project duration, the project managers Franziska Ritter and Pablo Dornhege present interim results of the project “Virtual Stage Rehearsal” at the Bühnentechnische Tagung.
Live from the digital.DTHG lab at the Bühnentechnische Tagung the two project managers* Franziska Ritter and Pablo Dornhege presented interim results of the subproject “Virtual Teaching and Learning Rooms”.
At the online session at Bühnentechnische Tagung 2020 in October 2020, both project managers Franziska Ritter and Pablo Dornhege presented interim results of the sub-project “The virtual Große Schauspielhaus Berlin”.
The project “Augmented Reality in Event Technology” was presented online by the two project managers Franziska Ritter and Pablo Dornhege at BTT_digital from the digital.DTHG lab.
The project “Augmented Reality in Event Technology” aims at facilitating recurring work processes such as the construction and dismantling of stage sets or the maintenance and administration of theatre technology using AR applications. Continue reading “Practical workshop: Augmented Reality as a construction aid”
The entry into new digital worlds is a big step with many obstacles. New software and new ways of working require an intensive examination and consume a lot of time. Time that is not always available. Continue reading “Workshop series: How to go virtual?”
The view beyond the horizon offers different impressions of VR applications outside the theatre context. As an art installation or museum artifact, VR is ideally suited to open up new aesthetic, narrative and didactic spaces. Continue reading “Quickly recommended: art and exhibitions in VR”
Developing a stage design is a process that involves many steps and trades – the creative work of the stage designers in consultation with the director as much as coordination with technical management, production in the workshops and realization on stage. Continue reading “Workshop: the virtual construction trial”
