Digital Cake

Digital Dramaturgy Research

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Digital Dramaturgy Lab

The Digital Dramaturgy Lab is a networking platform for artists, technicians, programmers, students and scholars, based at the University of Toronto’s Centre for Drama, Theatre and Performance Studies.

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Final Words and Farewells - His

Joel Chico - Co-Author of blog "Digital Cake", undergraduate student

I still cannot believe this happened. I'm still in awe at the wonders I saw in Germany. To be at the location where The Beatles first played in Hamburg, seeing the brilliant work of the Masters students at their University, as well as meeting a large array of individuals was truly an experience I'll never forget. Being in Berlin was a world in itself, the sights, the sounds, the theatre! Never have I been so entranced and shaped by what I've seen in a packed house full of clapping hands that felt like could go on forever! The time spent here although short, was sweet and a tempting dip into the waters that I will look forward to a nice relaxing swim when I return. Many thanks to Antje for creating such a worthwhile adventure, my fellow counterpart Chelsea, and the great grad-students Art, Shelley and Myrto for making my first European experience one I'll never forget. I will one day return and share the happy days with all those I've encountered, and meet many  more smiling faces.

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Final Words and Farewells- Hers

Chelsea Dab-Hilke – Co-Author of blog  “Digital Cake”, undergraduate student

What an amazing experience! Hamburg was beautiful, full of interesting history. Berlin was incredibly inspiring and not only broadened my horizons as an artist but also gave me hope that art is still alive and kicking somewhere in the world. German theatre made me laugh, cry, opened my mind to possibilities and awesome potential, and reignited my love and passion for live performance. The beer wasn’t bad either.  Although, for me, the experience was shadowed somewhat by the constant reminder of the atrocities that had gone on there during the Second World War I think it is important to look truth in the eye, even when it lives in the past, in order to know who you are and where you came from. I look forward to my next trip to Germany, having been given a taste of its life and people, I definitely want to return. So so so many thanks to Antje Budde, the entire DDL and DDL adventurers, and every person I met on this journey.

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Murmel Murmel at the Volksbuhne

Murmelmurmelmurmelmurmelmurmelmurmelmurmelmurmelmurmel.

Try saying that quickly more than 5 times. Now imagine saying it over a hundred times. Or five hundred times. No matter how hard an audience member might try to count the number of times the performers of Murmel Murmel say "murmel" they will most likely lose count for two reasons: because "murmel" is definitely said over a thousand times, and you will let go of your task because you are completely entertained and in awe of the performance. From the opening moment when a man walks out onto the stage and plants himself with certainty in the downstage left corner, facing a conductor, and begins to belt out the word "murmel", you cannot help but watch with your mouth half ajar in awe and excitement. For almost two hours straight the only word spoken is "murmel" as the performers tell stories, form shapes, create scenes, and present amazing harmonies in song. The set consists of approximately five walls on tracks moving in and out from the stage left and right wings of various colours and shades. It is acrobatic, it is clown, it is tragedy, drama, and comedy. It is Murmel and that is all one can say. What a way to end this amazing experience. 

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Tour of the HFF Konrad Wolf - University of Film and Television, Potsdam-Babelsberg

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Day Trip to University of Film and Television, Potsdam-Babelsberg

After leaving the Volksbühne, we took a day trip to the HFF Konrad Wolf (Die Hochschule für Film und Fernsehen „Konrad Wolf“) translated as the University of Film and Television named after Konrad Wolf, a famous East German film director. This was located in Potsdam-Babelsberg, about an hour’s train ride outside of our central Alexanderplatz location in Berlin. It was here that we were to present our final incarnation of research to grad students of the program. 

Upon arrival, it had seemed as though we had set foot on an actual film set, which apparently we had! Located right beside the film school was Babelsberg Studios, the location in which major Hollywood films shot World War 2 scenes. Quentin Tarantino had previously been to the studios to shoot Inglourious Bastards and during our stay George Clooney was apparently in town shooting his new film Monuments Men.

We were greeted at the doors of the film studio by Dr. Kerstin Stutterheim, one of the head professors of the University, she was to give us a tour of the school, its facilities as well as introduce us to her class and open up discussion in regards to our presentations. At first glance we were astounded by the architecture and design of the school; glass windows surrounded the walls of the school, there was large open space to move freely, even their own greenhouse with natural growing plants directly in the space! Potsdam was already centered in a well forested part of Germany, very different from the cityscape of Berlin that we were used to. This was a fresh taste of the countryside for us to embellish in while calming our nerves for our final presentations.

The facilities were to the utmost quality. Here in the Undergraduate and Masters level, students can apply to Animation, Film, Cinematography, Scriptwriting, Directing, Acting, Sound and Set Design. We saw everything from the studios for animators, large rooms used for acting and directing classes, the equipment for 8,16, and 35 mm film production, as well as a 100 + channel mixing table for sound and Foley work.

After a wonderful tour of the school and small little snack on the picnic tables amongst the grass and trees, we prepared to present our research from Toronto. It seemed to go off quite well, though not having enough time to get through all of our adventurer’s work, we were still able to discuss and learn about some of the PhD and Master’s student’s research. This interweaving between student research from Undergraduate to PhD was a real treat, and gave us all something to talk about. The discussions in fact garnered well into debate lasting almost an over, with time going over our desired stay. After watching a few films and animations of selected works of the HFF student’s we had to continue on our way to our next venture. But not before taking in some more of the wonderful scenery as we walked back to the trains to head back to the city.

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The iconic symbol of the Volksbuhne Theatre

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Meeting with Thomas Martin - Dramaturge at the Volksbuhne

On July 2nd, as our last days are winding down, we met with Thomas Martin, Dramaturge at the Volksbuhne theatre, a place we have all become familiar with at this point. Due to a large group of 6 year olds that took power over the basement cafe, we are forced to move to the upstairs lobby. Martin is very casual with us, never answering the questions with too much finality. He is insistent that we have yet to see a "real" Volksbuhne production although we have seen two there already and are set for a third on our last night. He accredits Artistic Director Frank Castorf, who took over the position in 1992, for the Volksbuhne's ongoing success. As Martin explained, the theatre produces 9-10 new productions every year as well as the repertory productions. The theatre employs three dramaturgs and each get assigned to one production's rehearsal process which last approximately six weeks. Afterwards an "evening director" is assigned to the production who is responsible for overseeing the work when the director is not present. Martin explains that the political history of Berlin has had a huge impact on the Volksbuhne and it is still entrenched in politics, albeit of a different nature. Although the Volksbuhne seems to operate like any large, popular, and publicly funded theatre, Martin's clear passion for the work they produce (as long as it's a "real" Volksbuhne show) and his description of their task of "working across borderlines between life and art", let us know that there is a definite socio-political stance that lies in this theatre's work,  based in the past, evolving in the present, but nonetheless moving powerfully into the future. 

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GOB SQUAD'S KITCHEN!

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The magnificent Volksbuhne!

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GOB Squad's Kitchen at the Volksbuhne

After our adventures at Freie University it was off to the Volksbuhne to see GOB Squad's Kitchen, a show that was recently in Toronto during the Illuminato Festival. Walking into the theatre we saw a film set on the stage that was boxed off from the audience. As we were given a tour through the interior of the set we saw three sections, the first being a bed, with a digital camera focused upon who would be lying in it; the kitchen itself in which an actor was about to light a herbal cigarette, she passed it to us and we took a drag, unfortunately it was not to our liking; exiting the kitchen section there was finally a couch with more cameras facing those that were to sit. The set looked like a true film set with the actors and the crew around the wings with cameras and boom mics. As we walked off stage and finally to our seats, we then experienced what would be a homage to Andy Warhol's Kitchen. This show finally had some digital dramaturgy in which we can sink our teeth into, as the show projected the actions in the "Kitchen" upon the walls of the set itself. The cameras were live feeds from the bed, kitchen and couch. What proceeded was an exploration of actors in a confined space during the time frame of the sixties, psychedelic era. With music from that time period rising and swelling throughout the work, the actors began to explore the ways in which Warhol shot his acclaimed film, and discussed amongst themselves how they too can invoke the energy and vibrancy of that time. There were many points of aside, direct address and audience participation, wherein for example the actors would pick members from the audience to join them on set and on film, projected to the rest of the spectators. Individual audience members were told to take part in the sleeping section of the piece, to stare intently into the camera on the couch, or join the action within the Kitchen itself. From a dramaturgical standpoint we discussed the ways in which the actors talked to the individual audience members before bringing them on stage. There seemed to be a level of comfort/ discomfort amongst those willing to be a performer or to just sit back and enjoy the show. One moment in particular had a German speaking woman enter the Kitchen and chat with the obvious Edie Sedgwick inspired character. The question was certainly whether or not these spectators now performers were actually improvising the scenes or being told in some way what to do. Chelsea, after having talked to one of the audience actors after the show, found out that the headsets they were given were direct feeds of lines and actions in which the audience members were to follow. Though the piece felt a bit long at points, it was interesting to see the contrast between film, stage work, and the alliance created with the work paying tribute to Warhol's exploration in a presentation of a truly intriguing theatrical experience.

http://www.gobsquad.com/projects/gob-squads-kitchen-youve-never-had-it-so-good

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1st Student Symposium at Freie University with Joachim Fiebach and his students.

On the first of July we were greeted by Joachim Fiebach at the Freie University in Berlin. It was on this day that we were to present our digital dramaturgy presentations we had been working on during our time in Toronto. Fiebach treated us to a cup of a coffee prior to as he discussed his work with the University as we shared our interests and research during our stay in Berlin. He brought us to well equipped classroom where several students began to flock in to observe our presentations. As the topic for our venture was digital dramaturgy, it was quite ironic how we became the victim to technology's shortcomings. Problems with crossing international projectors and laptops delayed our presentation time, but we eventually were able to present our pieces. Shelley was the first to present, followed by Myrto and Chelsea. After a short break Joel and Art gave a shortened version of their presentations due to time constraints. We felt proud of our work and our audience was quite responsive with what was shown. Fiebach's students were open to discussion and were kind enough to give feedback and questions regarding what was heard, which in turn helped us to shape our presentations for our next symposium. Time is always a bittersweet memory, as our visit was cut short due to the technical troubleshooting and our need to get to the evening's show at the Volksbuhne. A memory nonetheless and we were glad we were able to present, which turned out less nerve-wracking than we would have guessed!

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Prior to our experience of Robert Wilson's Peter Pan, we were treated to a great meeting and discussion with Dramaturg Dietmar Böck outside the theatre. There was a wonderful stage set up for outdoor performances as well as a beautiful view of Brecht himself!

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A glimpse into the darkness that was Robert Wilson's Peter Pan. We become accustomed to the fact that the cast will continue to bow during curtain call until the audience stops clapping. In this case the applause lasted several minutes.

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Some photos of the beautiful Berliner Ensemble and Robert Wilson's production of Peter Pan.

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Robert Wilson’s Peter Pan with the Berliner Ensemble

Following our meeting with Dietmar Bock, we attended Robert Wilson’s Peter Pan with the Berliner Ensemble. For some of us it was the first time to see a Wilson production live while others were seasoned fans, but for all of us it was an exciting experience. The costumes and makeup gave the production an eerie “Grimm’s fairy tales” kind of feeling but the acting was child-like and presentational creating a children’s show ambiance. The colour schemes and moving sets were impressive and beautiful. Unfortunately for us digital dramaturgs (in-the-making) there was no significant amount of digital technology in order to make this production especially relevant for our research. However, this production taken into consideration with our conversation with Bock raised interesting questions about the intentional use of digital technology versus its use due to the modernization of design aesthetics. 

http://www.berliner-ensemble.de/repertoire/titel/89

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Meeting with Dietmar Böck, Dramaturge at the Berlin Ensemble

On June 30th, prior to seeing Robert Wilson's Peter Pan at the Berliner Ensemble, we met with Dietmar Bock, the Dramaturg who worked with Wilson on this production. While sitting outside the cafe in the garden surrounded by the presence of beautifully made-up and costumed members of the cast smoking, chatting, and eating, we discussed Bock's role at the Ensemble, and inquired about our own topics' relevance to the production we were about to see. The discussion hovered around Bock's Dramaturgical approach, which meant mostly that he did not have just one but rather worked with the Director to create a new approach each time that fit the Director's individual needs. Bock discussed some of Wilson techniques and approaches in creating Peter Pan with the Berliner Ensemble as well as the influence of Coco Rosie's music. The use of digital technology was not at the forefront of the conversation, however Bock did state that its inclusion into the rehearsal process must be present as early as possible and that there are times when a Director's vision may not be realized due to technological restrictions - both of which will be constant themes in our discussions with artists and observations in performance.