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.

Nan van Houte
Recent report of the OMC expert group from EU members states, in the context of the EU workplan 2015-2018 on Policies and Strategies for Audience Development. Scroll down to find the full text.
Mobile applications have been a hot topic for a long while within the visitor-serving industry. There are mobile applications for all kinds of museums, zoos, aquariums, historic sites, and performing arts entities. But are people using them? And do they increase meaningful performance metrics like visitor satisfaction?
Emma Wilson
Collaboration for theatre artists across borders may become a little easier thanks to an innovative new digital tool. Launched this week, CdnStudio is a web platform that uses basic green screen technology to overlay video feeds and make it appear as though artists in different studios are in the same room, enabling them to create and rehearse work from remote locations. Co-creator Sarah Stanley, co-founder and creative catalyst of SpiderWebShow, calls it “Skype on steroids.”
The study maps the different value chains for visual arts, performing arts, cultural heritage, artistic crafts, book publishing, music, film, TV and broadcasting as well as multimedia.
The 6th issue of our Fresh Perspectives publication series Mixed Reality and the Theatre of the Future explores the issues at stake when designing a mixed reality experience in the context of theatre and performance.
It can often be challenging in the performing arts to engage with audiences on a relational level. Constraints of time, space and place can combine to restrict and contract the audience experience.
Agnes Bakk
Kirsty Sedgman‘s background is in performance studies, which, according to her, tends to make big assumptions about audiences: who they are, why they attend, and what they get out of theatre. After encountering the rich field of audience studies, she became committed to research that talks to rather than talks about audiences.
Agnes Bakk
Interview with Tomáš Procházka, one of the founder members of the Czech performing arts group Handa Gote Research and Development, about old media, physicality and one of their latest production Eleusis.
Agnes Bakk
Sarah Ellis is the head of digital development at the Royal Shakespeare Company. Conversation about Shakespeare, theatre and their relation to new technology.
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.