XR: Augmented Reality, Virtual Reality and Installation

Flying Archive / anarchivTANZ.digital

Germany, 2022
Deufert&plischke

For 5 years deufert&plischke have been collecting favorite movements and letters to dance worldwide. Since 2021, this ever-growing collection has been anarchived together with the German Dance Archive Cologne, i.e. collected, archived and then re-circulated. Especially for this purpose, deufert&plischke, together with the artists Kirsten Rönfeldt and Karen Zimmermann, have set up a flying archive that invites visitors to embark on a joint journey into the project. The mobile archive will be accompanied by an installation by composer Hubert Machnik. Together with the web artist Claudia Schmitz, deufert&plischke are also presenting the recently developed location-independent platform anarchivTanz.digital as well as a film program with the latest video letters from South Africa and Brazil.

UnStumm | Augmented Movements

Germany, 2021
Direction: Claudia Schmitz, Nicola L. Hein

UnStumm was developed in multidimensional form as an in situ telematic augmented reality performance with dance, video and sound. It is about the interweaving of media and the interdisciplinary confrontation in Augmented Reality.

Claudia Schmitz and Nicola L. Hein created a project for augmented reality performances, which enables dance, video and sound in virtual space and in this way realizes a multidimensional space of telematic communication

Small spaces between times and silences

Canada, 2019, 3‘30‘‘
Direction: Anne-Marie Bouchard

A pianist, a dancer and a visual artist interpret Seven Haiku, a piano composition by John Cage.
The setting is a private concert that compels viewers to look in all corners.

re-FLOW VR 

Italy, 2021
Direction and choreography: Chrysanti Badeka

A transmedia choreographic piece, re-FLOW explores the body in state of emergency.

Who is in emergency nowadays? re-FLOW invites the VR users to an evocative experience, challenging their bodies and emotions and questioning what it means as a human to be in emergency. The VR participants do not watch a dance. On the contrary, by navigating themselves in a virtual space of dynamic juxtapositions and stimulus episodes, they move freely into the physical space, taking part unconsciously in a social choreography. Their personal decisions whether to enter or exit the portals activates their unpredictable journey, from a snowy landscape to a dry dessert.

Timpano

Spain/Thailand, 1997/2022,
Direction and Choreography: Susanne Helmes

Light and shadow through the moving leaves in the tree, color planes, and individual body parts of the actress – abstractions between the branches and leaves of a rubber tree in the midday heat.

The film is based on the solo NOON RESTS ON YOUR EARDRUM, performance for tree and dancer, Spain 1997/Bangkok 1998. You will see the transformation of the live performance into a version for VR. The challenge here is to try to transfer the sensual experience of movement and sound between the leaves of the rubber tree in the midday heat into virtual space.

5 Stages of Drowning

U.S.A., 2021, 8‘11‘‘
Direction: Ed Talavera, Konstantia Kontaxis, Dennis Scholl, Rosie Herrera

5 STAGES OF DROWNING is a virtual reality experience that explores climate change and the climate gap in Miami through dance. Designed and choreographed on location in Little Haiti, East Little Havana/ Miami River and Virginia Key. 5 STAGES OF DROWNING juxtaposes movement, performance, and climate change in a cohesive narrative that prompts audiences to question their relationship with the environment.

Constellation of the flesh

Czech Republic, 2021
Choreography: Choy Ka Fai, María Judova

Inspired by the concept of posthuman choreography, the project explores the choreographic expression of trance in shamanistic movements. Can we digitize the dance of the supernatural? Can we transform these trance fragments into a sensory experience? Constellation of the flesh proposes new perspectives on how the body can go beyond physical presence and observes different forms of altered states of consciousness.

KYKEON

Czech Republic, 2021
Direction: Mária Júdová
Choreography: Taneli Törmä

Kykeon is an immersive virtual reality experience exploring shamanism as a way to reimagine our current society. Inspired by an ancestral knowledge and wisdom, it invites the audience to take a part in a new ritual.

EVERYWHEN: a 360° video adaptation 

Czech Republic, 2021, 13‘23‘‘
Direction: Maria Judova
Choreography: Sona Feriencikova

A 360° video adaptation of EVERYWHEN – an intermedia performance that deals with the topic of historic recurrence through movement, 3d visuals, and sound spatialization.

kin_ 

Germany, 2021, 12‘00‘‘
Direction: Charlotte Triebus 

In the performative dance piece, up to three avatars act in augmented space and can be approached and experienced audience’s

own user screens. The thematic field deals with reality entanglements and their distortions, human intimacy and the border to surveillance by the viewer as well as the shift of agency between performer and recipient in moments of interaction. In situations of intimacy, the search for connection and humanity, the avatar dancers sometimes directly involve the viewer – who can influence what is happening through their own movement and interaction, as the avatar dancers react to proximity and distance, movement and wind impulses.

Skeleton Conductor

Finland 2020
Direction and Choreography: Hanna Pajala-Assefa

Express yourself through physical presence in VR. Conducting music and visuals through your movement in an intimate immersive XR experience which emphasises self reflective kinaesthetic awareness. Hanna Pajala-Assefa, Cross-media Choreographer in collaboration with: Daniel Leggat, Interactivity & Visual Designer Janne Storm, Interactive Sound Designer.

Votary

Germany, 2021
Direction: Gustavo Gomes

In Votary VR the audience has the opportunity to see and experience a “retro-techno” ritual shaped as a VR installation through smartphones and iPads provided by the organizers. While dancers stand as icons in the space performing a series of rituals, the audience can actively walk through the temples. The rituals are contemporary versions of different manias, as well as choreographic scores made by synchronizing movement and binary coding. The audience is invited to navigate through the space with these gadgets. So they create a tableau vivant of walking figures holding cameras and seeing a reality that is only available through this device. It is a human ritual filtered through technology, where people and subjective fantasies entrench as one thing in order to create a dystopian form of reality.

Dance AR

Germany, 2021

Direction: Gauthier Dance/Dance Company Theaterhaus, Xailabs GmbH
Choreography: Liliana Barros, Edouard Hue, Muhammed Kaltuk, Philippe Kratz and Theophilus Veselý

Meet the Talents to go is a production of the Gauthier Dance Company of Theaterhaus Stuttgart. In it, young choreographic talents worked together with dancers of the company and created pieces in a short time. With the DanceAR app, users can bring the six dance choreographies created by Gauthier Dance to life and watch them anywhere. In addition, users can use the record button to take a photo or film with the associated live camera and share it with others.

Fairies

Germany, 2021
Direction: Ballett am Rhein
Choreography: Louise Bennett, Brent Parolin

Close enough to touch and yet so far away – a sensation that currently describes a globally spreading attitude towards life. In ballet, we have known this phenomenon for a long time, but it comes with a whole lot of magic: the fairy. She appears out of nowhere and vanishes in an instant. The floating beings are, especially in the classical romantic ballet of the 19th century, a constitutive part of the narrative and the aesthetics – especially when it comes to dancing on pointe shoes. Whether as sylphs with little wings, as ghostly Willis in “Giselle” or as the seven birthday fairies in “Sleeping Beauty” – their magic never fades. The Ballett am Rhein shows five fairies in augmented reality.