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INTRODUCTION In recent times, the performing arts world – be it from the point of view of institutions, artists or intellectuals – is questioning itself and trying to understand and affirm its role in the face of the tidal wave of the technologies penetrating and influencing all the domains of our societies and all aspects of our life. With digital technologies, performing arts are evolving in their artistic forms, and in relation to audiences and structures of work. More and more performances use digital tools to enhance their aesthetic but also to involve the audience as a player, searching for the performative quality of playfulness. Having entered the art world, it is dispersing into its reality and changing it beyond recognition. Telepresence, virtuality, digital mobility and online tools become inherent to the professional life of the arts community, increasingly engaged with re-discussing the body and analysing the notion of presence on stage. How does the digital revolution challenge our creative practices and production, our marketing and audiences' habits? How do technological developments open doors for imagination and gain new creative possibilities? Digital Technologies in Performing & Live Arts – a symposium with IETM speakers in Singapore seeks to create conversations around how the digital revolution is challenging our creative practices and production, our audience engagement strategies and audiences’ habits. Through a series of presentations led by IETM members (International network for contemporary performing arts) and with facilitation by Singapore practitioners, this symposium will be a platform for learning, debating about and experiencing various digital tools.

PROGRAMME The symposium on 26 November is free, and registration is required to secure a seat at one or more of the presentations. All presentations will take place at Esplanade Theatre Studio. Please register at https://dtpla2019.peatix.com

9.30am to 10.10am Welcome and opening remarks

10.15am to 11.50am Presentation 1: Mixed Reality and the Theatre of the Future by Joris Weijdom, followed by discussion facilitated by Charlene Rajendran

Break

1.30pm to 3.05pm

Presentation 2: Technology and the Transformation of Performance by Eric Joris, followed by discussion facilitated by Natalie Hennedige

Break

3.20pm to 5pm

Presentation 3: Theatre Commons by Vijay Mathew, followed by discussion facilitated by Kathy Rowland

5pm to 5.15pm Closing thoughts

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Mixed Reality and the Theatre of the Future Presentation by Joris Weijdom Moderated by Dr Charlene Rajendran 10.15am to 11.50am Technological developments have an increasing impact on our daily lives and offer possibilities for new forms of cultural expression. More and more we exist in a mix of real and virtual environments in which we communicate and share experiences. Most devices we use are connected to the Internet. Public and private space start to blend and we manifest ourselves online as self-created fictional characters. How is this relevant for theatre practice? What do current developments like Mixed Reality, Transmedia, Artificial Intelligence and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple real- and virtual- ‘stages’ and relate to our audiences when they become co-creators? In this lecture, Joris Weijdom, researcher and designer of mixed reality experiences at the HKU University of the Arts Utrecht, will address these questions by taking you on a roller coaster ride of thought-provoking ideas and examples from the world of technology, media and theatre.

Technology and the Transformation of Performance Presentation by Eric Joris Moderated by Natalie Hennedige 1.30pm to 3.05pm The digitalization of media has seen the implementation of several innovative technologies into performances and theatre: motion-captured actors, computer caves, viewer-dependent projections & video mapping, game engines, Head Mounted Displays, tracked touch-tablets... What unites many of these technologies is that they interact with the spectator, in many cases they have a bodily link to her/him. Eric will give an overview of their potential and show them as they were used in staged performances of CREW. A main part will then be dedicated to immersive performances: ‘Virtual Reality’ and embodiment, a field in which CREW has been a pioneer. Eric will reflect on how VR and immersive media feed into the ‘transformational’ aspect of the live arts and theatre. ‘VR’ appears to be transformational by nature: instead of looking at an image, one feels to be a part of it. This embodiment is further enhanced by narration, physical movement, touch, sound, etc... For the ‘immersant’ it blurs the distinction between live and mediated reality, it creates a shifting moment in between the perceived and the embodied world. This ‘transitional zone’ became the centerpoint of CREW’s live performances and research. If this sounds theoretical, it isn't: a careful handling of this two-sided experience can e.g. create strong 'out-of-body' phenomena. The immersive experience is an active construct in the immersant's mind and body, in a way he thus co-directs the performance. Seen from the 'outside' the actions of immersants can equally be revealing and form a level. The role of a maker becomes thus rather more curating than directing the experience of the immersants and of the spectators. Eric Joris will have some VR/AR equipment with him (Vive headset and PC, tracked tablets) as to briefly introduce these to participants that have no experience with them.

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Theatre Commons Presentation by Vijay Mathew Moderated by Kathy Rowland 3.20pm to 5.00pm It is widely known through digital companies such as Airbnb and Uber, but the collaborative economy is much larger than this and can be applied to the arts field without compromising our values. Defined as horizontal network and community-based sharing of access to goods and services, the collaborative economy distributes power within communities as opposed to centralized institutions. With the culture of hacking and Do-It-Yourself, it can lead to fab labs, co-working spaces or community-based platforms, completely shifting the way we work. But there are some difficult questions. What does this collaboration imply in terms of intellectual property? Where is the line between the producer and the consumer? What can we trust? Co-founder Vijay Mathew will present on the work of HowlRound Theatre Commons which is a free and open platform for theatre-makers worldwide to amplify progressive ideas about theatre and to facilitate connection between diverse practitioners. All of the content (essays, videos, podcasts) on HowlRound are produced by the theatre community who chooses to participate and who are aligned with the platform's values. This presentation will be valuable for any artist or cultural worker who is interested in learning, connecting, and contributing knowledge to a progressive and worldwide theatre community.

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SPEAKERS & MODERATORS Joris WEIJDOM University of the Arts Utrecht – HKU Utrecht, the Netherlands https://www.hku.nl/Home/Research/Professorships/PerformativeProcesses.htm

Joris Weijdom is a researcher and designer of mixed-reality experiences focusing on interdisciplinary creative processes and performativity. He is a lecturer and researcher at the HKU University of the Arts Utrecht where he founded the Media and Performance Laboratory (MAPLAB), enabling from 2012 until 2015 practice-led artistic research on the intersection of performance, media and technology. Currently he works as a researcher at the Professorship Performative Processes and teaches several BA and MA courses. As part of his PhD project Joris researches creative processes in collaborative mixed reality environments (CMRE) in collaboration with Utrecht

University and the University of Twente. Joris is always looking for the ‘inter’ in everything: inter-disciplinarity, inter-mediality, inter-action and inter-faces. He learned from experience that sharing ideas and concepts through ‘sketching’ in an interactive mixed-reality environment is a powerful and effective approach for creative research, design and development. Being able to quickly manifest ideas through interactive spatial prototypes stimulates experimentation and possibly true innovation. In collaboration with the IETM Joris published ‘FRESH PERSPECTIVES 6: Mixed Reality and the Theatre of the Future. Arts and New Technologies’, a playful but serious journey along the issues at stake when designing a mixed reality experience in the context of theatre and performance. Free for download at: www.ietm.org/en/publications/fresh-perspectives-6-mixed-reality-and-the-theatre-of-the-future

Dr Charlene RAJENDRAN National Institute of Education Singapore https://www.nie.edu.sg Charlene Rajendran is a theatre educator, researcher and dramaturg, interested in contemporary interdisciplinary performance, issues of difference, play-based pedagogy and arts leadership. Currently based at the National Institute of Education - Nanyang Technological University (Singapore), she is also Co-Director of the Asian Dramaturgs’ Network.

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Eric JORIS CREW Brussels, Belgium http://www.crewonline.org/

CREW is a Belgian performance group, founded in Brussels in 1991 by Eric Joris. CREW operates on the border between art and science, between performance art and new technology. Artist Eric Joris develops his live-art projects in close collaboration with scientists and other artists. CREW's immersion-based performances put the spectator right into the heart of the experience, exploring and innovating the potential of immersivity and state-of-the-art interactive technology. The running thread in the work of CREW is Eric Joris' drive for a deeply rooted utopia: the search for a medium that both dissects and expands our experience. CREW's creations range from one-to-one performances, staged performances and visual arts installations to scientific research set-ups and interventions in public spaces. CREW's work has been presented on stages

across Europe, at large public events from Brussels to the Shanghai World Expo, and at scientific conferences in Europe, China and the U.S. In 16 years CREW has immersed thousands of people. CREW has been artistic partner in several EU-funded multidisciplinary research consortia, the latest being “Present”, a consortium that is concentrating on A.I., digital companions and VR.

Natalie HENNEDIGE CAKE Singapore http://www.caketheatre.com Natalie Hennedige is the Artistic Director of Cake, a contemporary performance company based in Singapore. She is a recipient of the National Arts Council Young Artist Award 2007, Japan Chamber of Commerce and Industry (JCCI) Singapore Foundation Culture Award 2010 and a finalist of The Rolex Mentor and Protégé Arts Initiative 2011. Natalie conceptualises, writes and directs works in theatre & performance, engineering contemporary works that are artistically adventurous, often defying classification and that play at conventional performance venues, unusual spaces of creative experimentation and in public spaces to create performance-based experiences. Natalie’s most recent international outing was a re-imagination of Euripides’ Medea at National Black Theatre in New York City in 2018.

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Vijay MATHEW HOWLROUND Boston, U.S.A. http://howlround.com

HowlRound is a knowledge commons by and for the theatre community made up of an online journal, a livestreaming TV channel, an interactive data map, and more. It’s a place for theatremakers to share feedback, learning, expertise, and vision. Anyone can participate in our open platforms, for free. Vijay Mathew is the Cultural Strategist and Co-founder of HowlRound. He is leading HowlRound's development of commons- based online knowledge sharing platforms and the organization's notions of cultural innovation. Prior to his current position, he was the Coordinator for the National Endowment for the Arts New Play Development Program for two years, as well as a Theater

Communication Group New Generations Future Leader grant recipient under David Dower's mentorship in new work at Arena Stage in Washington, DC. Vijay has a MFA from New School University and a BA from University of Chicago. He is a board member of Double Edge Theatre located in rural Ashfield, Massachusetts, USA.

Kathy ROWLAND Arts Equator Singapore https://artsequator.com Kathy Rowland is the Managing Editor of ArtsEquator.com, which she co-founded with Jenny Daneels. The site is dedicated to supporting and promoting arts criticism with a regional perspective in Southeast Asia. She was a member of the International Programme Advisory Committee of the 8th World Summit on Arts and Culture, 2019. Kathy has worked in the arts for over 25 years, running arts and culture programs and arts media platforms. She has edited several volumes of plays by leading playwrights in Malaysia and Singapore. Her articles on the politics of culture have appeared in publications in Malaysia, Singapore, South Korea and the US. She has worked in the areas of cross-cultural exchanges and arts advocacy, with a special interest in arts censorship. Kathy has also produced theatre and visual arts events in Malaysia, Singapore, South Korea, New York, Australia and Thailand.

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NATIONAL ARTS COUNCIL The National Arts Council champions the arts in Singapore. By nurturing creative excellence and supporting broad audience engagement, our diverse and distinctive arts inspire our people, connect communities and profile Singapore internationally. We preserve our rich, cultural traditions as we cultivate accomplished artists and vibrant companies for the future. Our support for the arts is comprehensive – from grants and partnerships to industry facilitation and arts housing. The Council welcomes greater private and corporate giving to and through the arts, so that together we can make the arts an integral part of everyone’s lives. For more information on the Council’s mission and plans, please visit www.nac.gov.sg.

ESPLANADE – THEATRES ON THE BAY, SINGAPORE Esplanade is Singapore’s national performing arts centre and one of the busiest arts centres in the world. Since its opening in 2002, the centre has presented more than 41,000 performances and activities, drawing an audience of 28 million patrons and 98 million visitors. This architectural icon, with its distinctive twin shells, houses world-class performance spaces complemented by a comprehensive range of professional support services. Esplanade’s vision is to be a performing arts centre for everyone and its programming is guided by its social mission—to entertain, engage, educate and inspire. It seeks to enrich everyone’s lives, including seniors, youth, children and underserved communities, through the arts. The centre’s year-long calendar of about 3,500 arts performances and activities span different cultures, languages and genres including dance, music, theatre, and more. Of these, more than 70% are presented free for all to enjoy. Esplanade’s visual arts programmes at its public spaces also allow visitors to view and explore art works for free. Esplanade regularly presents world-renowned companies and artists that attract international attention and add to Singapore’s cultural vibrancy. The centre is also a popular performance home for arts groups and commercial presenters who hire its venues to stage a wide range of programmes. These carefully curated presentations complement Esplanade’s own diverse offerings for audiences. Esplanade works in close partnership with local, regional and international artists to develop artistic capabilities, push artistic boundaries and engage audiences. The centre supports the creation of artistic content by commissioning and producing new Singapore and Asian work for the international stage. As an Approved Training Organisation (ATO) of the SkillsFuture Singapore (SSG), Esplanade conducts a range of courses that develops technical capabilities for the industry nationally. To bring even more of the arts to a wider audience, and provide more platforms to support Singapore’s next generation of artists, Esplanade is building a new theatre with at least 550 seats along its busy waterfront, opening in 2021. Esplanade – Theatres on the Bay is operated by The Esplanade Co Ltd (TECL), which is a not-for-profit organisation, a registered Charity and an Institution of a Public Character. The Charity Council awarded TECL the Charity Governance Award – Special Commendation for Clarity of Strategy in 2016, and the Charity Transparency Award for three consecutive years since 2016. TECL is funded by Ministry of Culture, Community and Youth and its Community Programmes are supported by Tote Board Family, comprising Tote Board, Singapore Pools and Singapore Turf Club. Visit www.esplanade.com for more information.

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IETM - international network for contemporary performing arts IETM is a network of around 450 performing arts organisations and individual members working in the contemporary performing arts worldwide: theatre, dance, circus, interdisciplinary live art forms, new media. Members include festivals, companies, producers, theatres, research and resource centers, universities and institutional bodies. IETM holds two plenary meetings a year in different European cities and smaller meetings all over the world. Besides, IETM commissions publications and research projects, facilitates communication and distribution of information, and advocates for the value of arts.

Mission IETM advocates for the value of the arts and culture in a changing world and empowers performing arts professionals through access to international connections, knowledge and a dynamic forum for exchange IETM provides performing arts professionals with the information, knowledge, skills and contacts that are necessary to work in the field of contemporary performing arts, across national borders.

Activities IETM organise several types of meetings according to the needs and interests of the members: - Plenary meetings happen twice a year with a broad thematic of interest to all the members. They happen

in different European cities and bring together 400 - 800 professionals in a series of discussions and networking opportunities and a performing arts programme.

- Satellite gather 20-200 participants and happen several times a year in various countries across the globe. Satellites allow a deeper analysis of a specific topic and/or closer contact to a region/country in focus, offering working groups and opportunities for informal networking

- Caravan happen once a year and provide an overview of a country’s or a region’s performing arts’ scene and present networking opportunities to a smaller group of professionals making site visits, having in-depth conversations with key local actors, etc.

IETM commissions timely publications addressing emerging trends, collecting and analysing case studies, providing specialist directories, identifying policy or social tendencies affecting the cultural sector. IETM publications put forward the expertise, knowledge and experience of the members of the network and share them widely throughout the sector. Publications are free of charge and in most cases downloadable online. Starting in 2015, IETM offers two career development programmes: - IETMCampus, a summer school for performing arts professionals starting to internationalise their

practice. It is a week of intensive exchange of skills, knowledge, experience and contacts with key international cultural experts.

- Staff Exchange Programme is an opportunity to join the team of another member organisation, and to host a professional from abroad (for members only)

IETM advocates the value of contemporary performing arts in our societies. It has long championed the need for optimal conditions for sustainable arts mobility, international collaboration and creativity in the arts on the European level. IETM’s role is often to show the true value of the arts without instrumentalising them, in other policy debates. It also provides information, knowledge and skills to empower its members to be advocacy actors in their own local environment. https://www.ietm.org