Limits of Knowing

Immersive theatre and virtual spaces

A conversation on new relations between theatre and virtual reality with Mona el Gammal, Kay Meseberg, Thomas Oberender, Kay Voges

  • Free admission

  • In German

Past Dates

How can immersive theatre be mapped onto virtual space today? Using the example of “RHIZOMAT VR” and “THE MEMORIES OF BORDERLINE”, Kay Voges (artistic director of the Schauspiel Dortmund), Kay Meseberg (project manager of ARTE 360/VR), Mona el Gammal (scenographer) and Thomas Oberender (director of the Berliner Festspiele) discuss the potential and limits of new connections between theatre and virtual reality.

“RHIZOMAT VR” is the pilot project of a collaboration between ARTE and Berliner Festspiele/Immersion. The 360 ° film, which was produced together with INVR.SPACE, extends the Narrative Space “RHIZOMAT”, built by Mona el Gammal in 2016 in a former telecommunications office in the Palisadenstraße, into digital space.

With “The Memories of Borderline”, the Schauspiel Dortmund and CyberRäuber have created an experience which visitors can move through autonomously using a Vive headset. The result is a visual/acoustic 3D-space, which reproduces the acclaimed production “The Borderline Procession” by Kay Voges in a continuous loop.