In this episode, Emma Bexell from Bombina Bombast, a performing arts company in Malmö, Sweden, takes us to the space of gamified society and theatre. Bombina Bombast combines documentary audio, gaming interface, and immersive installation in a Virtual Reality show where audience members can rest with insomniac Swedish gang members—all while criticizing the attention economy.
Disabled choreographer, dancer, designer, engineer, and founding member of Kinetic Light, Laurel Lawson talks about performing aerially in a wheelchair, accessibility as its own artform rather than an add-on, and their app Audimance which includes haptic interpretation and sensory modulation.
In this episode we talk with the founding artistic director of Theater Mitu, Rubén Polendo, about the hope for the future that inspired Utopian Hotline—now traveling through space as part of the Golden Record. We also discuss the gore, myth, and puppet-robots with their own point of view in Jodorowsky-inspired Santa Sangre.
Annemarie Hagenaars is an astronomer, physicist, and actress. In this playful conversation with Tjaša, Annemarie speculates about Einstein's famous equations, love, and shares her own experiment that she conducted with her one woman show The Story of the Einstein Girl, where she performs the play four different ways and lets the audience choose.
LaJuné shares about the inception of Black Movement Library: a database of motion capture data from Black folks they created, while seeking to avoid the paradigms of erasure, extraction, and exploitation of Black bodies. In their work, they encourage freedom and personal expression over correct data capture. They believe none of us are just numbers, and to treat our movements in our bodies as just data sets is very harmful.
Our guest, Josh Corn, is a true renaissance man. He uses technology to tell absurd and subversive stories about humanity. Josh built René—the most technologically advanced robotic arm from 2002, who had her own circus act. He also made Field Day Games where you can compete with groups over video call to spill, drop, break, crack, ignite, and burn machines in their studio. Everyone wins except Josh. He has to clean up.
Maud discusses monsters, and the “humanization process:” the idea that humanity asks of us to leave some part of the world at the door and opt in for a very specific, very small part of all that life has to offer. They also dissect the West’s capitalist need to reject the consciousness of inanimate objects in order to participate in the consumer culture.
In this episode we chat with director Igor Golyak of Arlekin Players about the power of virtual theatre and the experience of using technology that had never before been used for live performance. And if you were wondering why there was a twelve-foot robotic arm on stage, serving coffee and sweeping the floor in The Orchard at Baryshnikov Center, Igor thinks that’s what Chekhov would have wanted.
We dive deep with Anonymous Ensemble into LIontop: a technologically ambitious installation and multilingual performance that centers on Quechua voices; Google finally translating Quechua; and the mystery of the ancient Incan Quipus.
Guest Heidi Boisvert believes that our bodies are archives of stories and if we can't get those stories out, the whole fabric of society will break down. When she worked in tech, addressing social issues, she had a crisis of faith and figured that bringing people into physical spaces and working with the body might be one way of mitigating deleterious effects of technology. Now, she’s creating a media biogenome.
Welcome to Theatre Tech Talks: Artificial Intelligence, Science, and Biomedia in Theatre. Each week, host Tjaša Ferme and a guest will explore new forms of theatre interwoven with high tech. In the interviews, Tjaša probes at the "why"s and "how"s to demystify the intricate connection between the biological and artificial, as well as explore the innate wisdom of the body and how new tech can help us get a peek inside of our brains, bodies, and souls.