E-ARCHAEOLOGY | 2022 Based on the screenplay by Ingmar Bergman Directed and staged by: Carlos Eduardo Thompson Stage collaboration: Clementine Pohl Costumes: Adriana Braga Peretzki Video: Christopher Bauder Lighting: Carsten Rüger Dramaturgy: Michael Billenkamp Cast: Manolo Bertling, Susanne Böwe, Artemis Chalkidou, Yusuf El Baz, Sarah Franke, Janine Kreß, Christian Kuchenbuch, Lydia Makrides, Wolfgang Maria Bauer, Ingolf Müller-Beck, Linda Pöppel, Peter René Lüdicke, Cordelia Wege For this production, we designed a projector-based digital lighting system with integrated depth-camera tracking to pixel-map the entire stage area of approximately 120 m², including a large-scale Neo Rauch painting as the backdrop. Because the play features a flexible scene order, the lighting designer could select or deselect actors in real time via remote, making them active or inactive as triggers for digital light-follow effects and generative visuals. Multiple effects could be assigned to individual actors in nearly infinite combinations. Additionally, virtual “light agents” autonomously interact with the real actors on stage. — Carlos Eduardo Thompson

E-ARCHAEOLOGY | 2022
Based on the screenplay by Ingmar Bergman
Directed and staged by: Carlos Eduardo Thompson
Stage collaboration: Clementine Pohl
Costumes: Adriana Braga Peretzki
Video: Christopher Bauder
Lighting: Carsten Rüger
Dramaturgy: Michael Billenkamp

Cast: Manolo Bertling, Susanne Böwe, Artemis Chalkidou, Yusuf El Baz, Sarah Franke, Janine Kreß, Christian Kuchenbuch, Lydia Makrides, Wolfgang Maria Bauer, Ingolf Müller-Beck, Linda Pöppel, Peter René Lüdicke, Cordelia Wege

For this production, we designed a projector-based digital lighting system with integrated depth-camera tracking to pixel-map the entire stage area of approximately 120 m², including a large-scale Neo Rauch painting as the backdrop.

Because the play features a flexible scene order, the lighting designer could select or deselect actors in real time via remote, making them active or inactive as triggers for digital light-follow effects and generative visuals. Multiple effects could be assigned to individual actors in nearly infinite combinations. Additionally, virtual “light agents” autonomously interact with the real actors on stage.

— Carlos Eduardo Thompson