Passage au numérique

« Nous ne pouvons pas maintenir le 21ème siècle à l’écart du théâtre plus longtemps ». (Scott Walters)

La révolution numérique est un fait accompli. Tel un médicament soluble, elle s’est dispersée dans la réalité d’aujourd’hui, la modifiant drastiquement. Elle touche nos pratiques créatives et la production, ainsi que notre façon de communiquer avec le public et ses habitudes.

Comment pouvons-nous atteindre la génération de l’ère numérique ? La technologie étouffe-t-elle la créativité ou, au contraire, ouvre-t-elle les portes de l’imagination ?

Nous espérons que ce débat permettra à la communauté des arts du spectacle (avec des idées, des compétences, et du courage) de tirer profit des gains potentiels, et de rester attentive aux possibles risques qui accompagnent l’ère du numérique.

I’ll hazard a guess that few of you (save the real geeks among you) know that this quotation comes from British science fiction writer Sir Arthur C. Clarke’s “Hazards of Prophecy: The Failure of Imagination,” in which he posits three universal truths of scientific prediction. Yet whether or not you’re acquainted with Clarke’s Third Law, I imagine that it resonates with a moment you’ve experienced in the theatre, when a virtuosic stage effect goes so far beyond the realm of your technical understanding that it induces in you a mystic reverence, a kind of theatrical sublime. While I’ve had many...
The book aims to contribute to understanding the diversity of cultural expressions in the digital age and to shed light on appropriate measures and policies to meet the challenges and opportunities brought by new technologies.
Agnes Bakk
A conversation with Katie Day (founder and artistic director of The Other Way Works company) about her latest productions and why is important for her to work with new technology tools.
Agnes Bakk
Interview with Mirko Stojkovic dramaturg, video game developer and university teacher about monomyths, nano-spectacles and avatars.
"I think that twenty-first century theatre should look more like the conditions it is made under: the warm glow of computer screens as comfort; the cyclical melodrama of the stock market as a Greek tragedy; the War on Terror as a war on metaphors; the globalization of the world as the isolation of the human."
The article analyses both explicit and implicit policy approaches to regulating digital culture, as both remain relevant in ensuring that cultural content reaches its intended users. This provides the background for the investigation of the results obtained through the comparative policy analysis executed in the project ‘Access to Culture.
Mark Zuckerberg, founder of Facebook, speaks on the stage at the Mobile World Congress in Barcelona, Spain, February 2016
What I want from technology is not a new world. What I want from technology are tools for exploring and enjoying the world that is. We look to technology not only to manipulate nature but to possess it, to package it as a product that can be consumed by pressing a light switch or a gas pedal or a shutter button. We yearn to reprogram existence, and with the computer we have the best means yet. We would like to see this project as heroic, as a rebellion against the tyranny of an alien power. But it’s not that at all. It’s a project born of anxiety. Behind it lies a dread that the messy, atomic...
Agnes Bakk
machina eX is one of the most immersive theatre company in Germany. They constantly recreate surrounding of video games where the audience can experience how is to be a real protagonist of such games. Interview with machina eX’s member, Lasse Marburg on
Agnes Bakk
The Brighton based Blast Theory is one of the world leading interactive performance companies that combines elements of performance, installation and virtual reality. The company is at the forefront of using technology, doing research and actually “testing” human behaviour although they also have a clean-cut policy of handling big data of their audience. A conversation with Nick Tandavanitj on
Agnes Bakk
Evert Hoogendoorn is a strategist and game designer at IJsfontein Interactive Media. He also has a background in theatre and acting, has been part of the game industry for over fifteen years and started the Design for Virtual Theatre & Games program that later became part of the School of Theatre under the name of Interactive Performance Design program. He speaks with us about the reticence of some directors to use digital devices in the theater.