Live-Streaming &
Video On-Demand
Video On-Demand
HOW
TO CRY
A
hybrid theater performance
Live-Streaming Production
Magma Studio
Performance and
Co-Authoring
Çağlar Yiğitoğulları, Johannes Storks, Juliana Oliveira, Lisa Heinrici & Richard Gonlag
Concept,Text & Directing
Bastian Sistig
Direction Assistance
Kim-Manuel Walz
Concept & Dramaturgy
Hanna Steinmair
StageDesign
Marie Gimpel
Costume
Josephine Hans
Mobile Camera
Jonas Fischer
Sound
Burgundt Brandt
Lighting
Florian Fink
Production
Julia Klinkert
Magma Studio
Performance and
Co-Authoring
Çağlar Yiğitoğulları, Johannes Storks, Juliana Oliveira, Lisa Heinrici & Richard Gonlag
Concept,Text & Directing
Bastian Sistig
Direction Assistance
Kim-Manuel Walz
Concept & Dramaturgy
Hanna Steinmair
StageDesign
Marie Gimpel
Costume
Josephine Hans
Mobile Camera
Jonas Fischer
Sound
Burgundt Brandt
Lighting
Florian Fink
Production
Julia Klinkert
How
to Cry by Bastian Sistig is a sensitive piece about masculinity, leading in a
show-like manner through productive ways for old white men to engage in crying and
opening up the possibility for tender vulnerability.
HTC is a complex theater performance with interactive elements engaging both off-and online audiences. Through live overlay graphics, spectators are asked to share their opinions via email or call a cab for the actors. Next to three stage cameras there is also one handheld camera occasionally leaving the stage together with the actors, opening up the stage to the corridor, dressing room, rest room, court yard and even a cab drive through Berlin and thereby making the screen Projection an integral part of the aesthetics of the piece. Also, elements of the stage design served as a green screen that could be potentially keyed and projected while being live-streamed adding another level of storytelling possibilities and complexity to the performance. Magmastudio successfully realized the live streaming with all its intricate challenges.
HTC is a complex theater performance with interactive elements engaging both off-and online audiences. Through live overlay graphics, spectators are asked to share their opinions via email or call a cab for the actors. Next to three stage cameras there is also one handheld camera occasionally leaving the stage together with the actors, opening up the stage to the corridor, dressing room, rest room, court yard and even a cab drive through Berlin and thereby making the screen Projection an integral part of the aesthetics of the piece. Also, elements of the stage design served as a green screen that could be potentially keyed and projected while being live-streamed adding another level of storytelling possibilities and complexity to the performance. Magmastudio successfully realized the live streaming with all its intricate challenges.