The Respectful Nettheatrechannel is a slow format, which uses the tools of our digital cultures. Its focus is not just on talking about the digital in performance, but rather to refer to it in a digital way.
It conducts a SERIES of conversations with impactful figures of the global performing arts community. These dialogues are accessible through the PLAYLIST on this website. The HASHTAG-APPARATUS further examines arising topics and discourses.
The Respectful Nettheatrechannel appropriates the attitude of respect. It refers to “looking back at”, (translated from Latin respectio) implying the idea of thoroughly assessing a new impression. Understood in this non-moral sense, respect questions the superficiality that goes with the first look.
The Respectful Nettheatrechannel has three aims:
1) It attempts to understand the role of theatre and performance during the conversion of human history into the supposedly posthuman conditions of digital cultures.
2) It comments through theoretical inputs and playful interventions. We are not interested in theatre criticism, instead in researching the cultural necessity, and relevance of emerging formats, concepts and aesthetics of digitality in theatre and performance.
3) It researches the production and transmission of knowledge on theatre and digitality, using the performativity of social media and being performed by them, at the same time.
The Respectable Series
The series explores the current state of digitalising theatre cultures through three sets of conversations.
The series explores the current state of digitalising theatre cultures through four sets of conversations.
THINKING ABOUT PERFORMING DIGITALITY
THE LABORATORY: INTERNET AS SITE OF PLAY
The Respectable Hashtag-Apparatus
The Hashtag-Apparatus extracts theoretical snippets from our respectable series and games around with them.
The Respectable Playlist
This playlist archives the full conversations of the series and makes them accessible to everybody.
Amitesh Grover on Theatre and the Internet
“Distant and Resilient Futures”. Fanny Cyberton, from the year 2043, and her avatar Fanny Cybertron.
“The Politics of Interpretation of Art & Archives”. Gob Squad, with Venkat Srinivasan (Archivist)
Theater & Digitalität “Was meinen wir, wenn wir von Digitalität sprechen?” Claus Pias und Kay Voges
Performing AI. On techno-human entanglements
digital liveness and virtuality
Juditk Ackermann about TikTok, “Bildung, Politik und Performance als 60sek-Dauerschleife”
The Lonely Hearts Club: A Conversation and a Scandalous Expose
Performing AI.Between Human Ugliness and Thinking Other Futures
Fanny Cyberton/Fanny Cybertron. Identity, Institutions, Politics in Digital Cultures
The Respectable Team
Judith Ackermann is a research professor for digital and networked media in social work, and head of the “Digital Participation and Inclusion Lab” (dpi-lab) at the University of Applied Sciences Potsdam. Her research focuses on the potential of digitalisation for society and culture. Since 2017, she has been part of the leading team of the research project “Postdigital Art Practices in Cultural Education” (PKKB) and since 2019 of the project “Digital Inclusion in the Context of Social Anxiety Disorders” (DISA). Judith Ackermann is part of the academic advisory board of the “Academy for Theatre and Digitality” at Theatre Dortmund. She has been an actress in children’s theatre at Horizont Theatre Cologne since 2014, and initiator of the international urban games festival “playin’siegen” since 2015. She undertakes science communication on TikTok as @dieprofessor since August 2020.
Anuja Ghosalkar is the founder of Drama Queen—a Documentary theater company in India. Her practice focuses on personal histories, archival absences & blurring the hierarchies between audience & performer—to extend the idea of theater to create audacious work. Iterations around form, process, modes of media, sites, technologies, reclaiming narratives on gender & intimacy are critical to her performance making & pedagogy. Her work has been programmed by the University of Oxford, Jawaharlal Nehru University, Forum Transregionale-ZMO, Frankfurt University. She co-curated an international workshop series on Documentary Theater—with Gob Squad, Boris Nikitin, Rimini Protokoll. She also co-curated VR performances for the Serendipity Arts Virtual 2020.In the past, she was programme officer at India Foundation for the Arts, film programmer for Experimenta. She is an Art Think South Asia Fellow (2017–18) and has written on film and performance for Nang Magazine, Art India, Bioscope, Hakara.
Martina Leeker is a scholar in media studies and theatre studies. She was a guest professor at Bauhaus University Weimar, at the Centre for Digital Cultures Leuphana University Lüneburg, and at University of the Arts Berlin. She teaches internationally at various universities, mainly in media studies, theatre studies, cultural studies, and research with art. Her research, and publishing is on: digital cultures, theatre and digitality, art and technology, performativity, posthuman education, mimesis, and critique. She works as a director and dramaturg. She is also a performer, doing lecture performances with artificial figures in academic contexts, in theatres and in social media. In educational contexts she undertakes research in speculation-labs. https://martina-leeker.de/, https://projects.digital-cultures.net/e-i/.
Kai Tuchmann works as a dramaturge, director and academic. He is developing his approach of theatre in close collaboration with artists from China and India. His stagings and dramaturgies were invited, among others, to I Dance Hong Kong, Zürcher Theaterspektakel, Kunstfest Weimar, Festival d’Automne à Paris, and Wuzhen Theatre Festival. Thematically, these works examine the afterlife of the Cultural Revolution in present-day China, the effects of urban development on the population of migrant workers, and the application of digital technologies. Kai is a visiting professor at Beijing’s Central Academy of Drama – for which he has developed, together with Li Yinan, the curriculum for the first Dramaturgy program in Asia. He has been a Fulbright Scholar at The Graduate Center, City University New York and he is a Fellow of the Mellon School of Theater and Performance Research at Harvard University.