At the BTT – the Stage Technology Conference, the most important trade fair and further training event for the theatre and event technology sector of the Deutsche Theatertechnische Gesellschaft (DTHG), we will be giving on 28. & 29. October digital a first insight into our projects. Participation is free of charge and open to all …
Continue reading “digital.DTHG at Bühnentechnischer Tagung”
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.
Virtual Reality Workshop at the tjg. Dresden and soon at other theatres? 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.
The theatre has always been a place for creating fantastic stories, a retreat and a place of longing at the same time. As “world builders”, theatre makers enable their audience to visit diverse places and travel through time to the future and the past.
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.
Digitalization is gaining ground in almost all areas and is developing a thoroughly useful tool for planning, organization and meetings with virtual reality. The listed programs are a first starting point for working with VR and allow a simple entry into the virtual world.
In the course of our daily work we encounter many interesting works by colleagues worldwide in which VR and AR open up new stage spaces or play a role as a medium in a performance. This list of links serves as a source of inspiration, orientation and further research and is continuously updated by us, …
Continue reading “Quickly recommended: VR and AR as stage space”
In an interview with Hubert Eckart, our project managers Franziska Ritter and Pablo Dornhege give insights into the current challenges in the Corona home office and report on the opportunities and risks of this special time.
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.
In theatre and event technology there are often two souls living in the chest of the technician: on the one hand, he or she appreciates reliable tools & technologies that have been tried and tested for years, but on the other hand, there is always curiosity about the new and unknown.
On November 25, 2019, from 10 am to 5 pm, the workshop “Virtual and Augmented Reality – How can digital technologies open up new accesses to cultural heritage?” organized by digiS took place at the Zuse Institute Berlin (ZIB).
Lectures by Franziska Ritter, Pablo Dornhege (digital.DTHG) and Maren Demant (Invisible Room), summarized by Kai Schnier, kultur-b-digital.de
Augmented Reality (AR) and Virtual Reality (VR) are technologies that complement our existing communication spaces and promote new approaches to mediation. They offer new possibilities of immersive, interactive and playful experience, through which a broader, especially younger audience can be reached.
An interdisciplinary kick-off workshop entitled “IM/MATERIAL THEATRE SPACES” took place in spring 2019 at the TU Berlin under the direction of Franziska Ritter and Pablo Dornhege.
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.
Finally it’s time: Thanks to the support of the Federal Government Commissioner for Culture and the Media (BKM), our research project has started: With the title “Im/material Theatre Spaces – Augemted and Virtual Reality for Theatre”, we will dedicate the next two years under the direction of Franziska Ritter and Pablo Dornhege entirely to the questions of the entanglement of theatre and digitality.