|Dates:||Saturday, January 8 / 15 / 22 / 29, 2022|
|Times:||Saturday, January 8 / 15 / 29, 2022|
| 10am-1pm Masterclass (Conducted in English)
2pm-5pm Jamming Session (Conducted in Cantonese / English, depending on participants)
|Saturday, January 22 (please note the time change for this Saturday only)|
3:30pm-6:30pm Jamming Session
|Location：||TEFO Open Space (Arts Studio 306, Tai Po Arts Centre)|
|Workshop Fee：||Individual Fee HKD$1500|
|Two-Person Fee HK$1,200/person|
|Application Deadline：||31 December, 2021 (until quota is filled)|
|Remarks:||Participants that take part in this Phase will have priority application in Phase III.|
Workshop Payment Method:
1) Pay the fee in one of the following ways within one week of signing up on the application form:
A) Bank deposit (deposit money to HSBC bank account 813-212719-001)
a) Bank settlement, or
b) Deposit cash to HSBC banknote deposit machine, or
c) Deposit a crossed cheque (payable to “Hong Kong Drama / Theatre and Education Forum Limited”)
[Enter your name and contact number on the payment slip, email to firstname.lastname@example.org ]
B) Mail a crossed cheque
Cheque payable to: “Hong Kong Drama / Theatre and Education Forum Limited”
Mailing address: Room 306-307, Tai Po Art Center, 12 On Pong Road, Tai Po, Hong Kong
[Please mark “Masterclass Jamming Sessions 2022” on the back of the cheque, and include your name and contact number]
2) If we do not receive payment confirmation by the application deadline, TEFO reserves the right to not reserve your place in the workshop.
As the global pandemic shifted live theatre and applied theatre into the digital sphere, it brought with it a series of unknown complications, but also a world of untapped possibilities. New digital tools heightened and transformed artistic experiences, artists then took those tools and adopted film, visual arts, and interactive media to reimagine live theatre practice. Perhaps the most exciting part of the digital, hybrid experience was the discovery of a new way to relate to audiences or participants: they were the ones creating their own experience either solo on their computer, or together with strangers online.Interestingly enough though, there’s already a medium that has been exploring interactivity for decades: video games.Why are video games so massively popular? How do they tell stories and create emotional impact? What is interactivity? But more importantly, what can other disciplines learn from it?This workshop series explores exactly how video game design and interactivity can help enhance digital applied theatre and drama education program designs. Workshop participants will:
• understand the history and impact of video games as an art form
• break down what a game design process looks like.
• understand the tension between gameplay and storytelling.
• investigate how to incorporate interactivity and audience engagement into live theatre.
• explore what it means to create meaningful and impactful choices in storytelling.
• prototype and design digital interactive experiences, focused on social issues in Hong Kong.By being exposed to new technologies and tools, as well as innovative methodologies and processes, participants can harness the power of digital interactivity to take their new work to new and exciting heights!
Attilio Rigotti (he/him) is a performer, director, technology artist, video-game designer and teacher. Born and raised in Chile, his work explores the intersection between game design, interactive technologies, and live performance, creating unique, user-centered experiences where audiences can fundamentally shape and transform a performance as it happens. He has performed, trained, taught, and developed productions around the world, including countries such as Poland, China, Egypt, Lebanon, India, Indonesia, Japan, Italy, Cuba, the U.A.E. and the U.S. He was an Associate Artist with experimental company Theater Mitu, where he acted and developed the technology for productions like Hamlet/UR-Hamlet, the national and international tour of Juárez: A Documentary Mythology, and the company’s sold-out run of Death of a Salesman at Brooklyn Academy of Music.
Along with Orsolya Szánthó, he founded the company GLITCH, focusing on creating work that seamlessly combines digital and physical mediums with new forms of storytelling. Their video and technology design has been featured at American Conservatory Theater, Kaki King, Mason Gross School of the Arts, MIT Music & Theatre Arts, The Harvard School, The Juilliard School, and more. Their graphics and video work has also been a part of the promotional campaigns of Broadway shows like The Sound Inside, The Great Society, Company, Plaza Suite, The Minutes, American Buffalo and Girl from the North Country. As a director, his work has been featured at The Tank, City Lyric Opera, Phoenix Theatre Ensemble, theatreC, LGPAC, Tisch School of the Arts, Toronto Fringe, and Gamiotics Studios, serving in the latter as head writer, director, and game designer on five of its hybrid interactive productions, including the award-winning Saving Wonderland. His productions have been recognized by the New York Times, Vulture, and American Theatre Magazine.
He was also an Associate Producer with theatreC, an ASTEP Fellow, an Instructor of Production at NYU Abu Dhabi, and spoke at NYU Abu Dhabi’s inaugural TEDx2014 Conference on the significance of video games as an art form. Attilio has twice been awarded the O-1 visa for extraordinary artistic achievement in the US, as well as the City Artists Corps Grant by the city of New York.
Host Organization: Hong Kong Drama / Theatre and Education Forum
Hong Kong Drama / Theatre and Education Forum is financially supported by the Hong Kong Arts Development Council.
Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
After receiving your email, we will try our best to reply back to you within 7 working days.