Opera and theatre of the Digital swallowing

Tina Lorenz was. 2020 ans Staatstheater Augsburg as a digital officer appointed one of the first Places of this kind in Germany We spoke with the former member of the Chaos Computer club in Augsburg, Germany. F. A. Z.

The state theatre of Augsburg, is a medium-sized house with 945 seats for drama, Opera and ballet. Why has set up in Augsburg, the Position of a digital officer?

Even before the Corona pandemic has been done by our artistic Director André Bücker intensively with the question of how the scope of the Digital theatre are to use. We started with a Hybrid project to Gluck’s Opera “Orfeo ed Euridice”; this is because the audience should experience the world through the Placement of Virtual Reality glasses. Then the first Lockdown came, the Opera was postponed. We wanted to do something to the contact with the audience to maintain. Thus, the project “VR-at-home”was born.

The theatre in Augsburg, Germany, sent in the whole of Germany, VR glasses, on each of which a special 360-degree production…

Exactly. You can order the glasses on the site. You will then be sent in the Mail, and you can keep them for two days. The glasses contain productions that were developed specifically for a 360-degree experience, so also implemented.

If, therefore, the theatre of the future, a completely digital experience?

No. But the Digital as a venue, as an extension of the Stage, which is firmly anchored in our house. We think there’s already a Post-Corona-time and want to get this venue and continue to develop. One of the first things I did here was to apply to the cultural Foundation of the Federal funding from the project Fund “Dive In” is a program for digital interaction for cultural institutions. With this funding, we are working to develop co-presence-projects, so Playing together and Experience the virtual space. The presence, in addition to the experience in a 360-degree Video in VR, is to have the feeling to be together with others. And this is one of the characteristics of the theatre.

When the theatres re-open, I can’t imagine that the visitor to stay indoor, and visitors more at home in the VR goggles.

We try to VR, which is currently more of a separation machine, break up and make it a part of the theatre mechanisms. We want the theatre magic into the Digital translation. This goes in the direction of a hybrid format, as we have with “Orfeo et Euridice” was created. There we wanted to connect the encounter of real people in the real space of the theatre with the Immersion in the virtual world – the Opera is set in the real Theater, while the scenes can be seen in the world through the VR goggles. But at the time, we want to make use of the possibilities of VR, in order to remain at all with our audience. Our latest Premiere, “14 curtains” by Einar Schleef, we have created a complete 360-degree production in a digitally designed space. And since it’s also a question: How do we play in the virtual space of the theatre, without a theatre building to build.

Neither digitalization VR are new. How is it that the theatre in terms of digitalization of the free economy is lagging so far behind?

I would not say to lag behind. But it is so, that the theatre is basically oriented on the concept of art. The means for the everyday life: The cloth is high, the Premiere has to take place. The administration of the rest of the operation is built around this very closely clocked art around. The theatre must create the time, even the freedom to digitize, for example, in the administration, processes or automate.

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Sounds the same to job destruction. But you have said once, automation is caring Staff.

Yes, totally. Because you can concentrate with automation on the core business. At the theatre, we do so much by Hand. We have quite a lot of processes, which are easily connected with hard work. We could automate, so that we can take care of the more complex processes, and therefore, what we are actually there at the Theater. Therefore, the automation is caring for me Employees.

Now we spend a lot of time in front of screens with digital content. The theatre, including the operas, appear to be analogous rocks in a digital Surf.

I think, to be able to more societal debates shape, we need to open up digital space, and with synthetic fill. This is from my point of view, easy to integrate in the development of the processes and in the theatre processes. Because the Theater has shown that it has been incorporated in the course of its development, everything, to tell stories. Any kind of technological Innovation, the Central perspective, hydraulics, electricity and artificial light, digital controls for the stage. And swallowing, this is one way to create content, and new spaces open up.

Are not occupied these rooms by Streaming services and Video-Games?

What happens in Gaming, we can look at, but we don’t want to compete with that, so, such as the theatre, also with the Film wants to compete. We have our own brand core, and based on this, Live the Moment, this community will Experience an irreversible event. I do not believe that the advances in digital game the theatre scratching or replace to rooms. It is not only about to expand a room.

The interview was conducted by Laszlo Molnar.

Source: F. A. Z.

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