Expertin für digitales Theater zu Gast an der HfS
"Culture Moves Europe" fördert Gastaufenthalt von Elsbeth Hoefkens
Ermöglicht durch das “Culture Moves Europe” Programm, wird die Elsbeth Hoefkens einen sechswöchigen Forschungsaufenthalt im Labor für Digitalität absolvieren. Im Interview stellt sie sich und Ihre Forschungsinteressen vor (unten auf Englisch).
Die niederländische Wissenschaftlerin ist zugleich Theatermacherin und Dramaturgin. Im Jahr 2021 erwarb sie ihren Abschluss in Theaterpädagogik an der ArtEZ Universität der Künste in Arnheim, und 2023 schloss sie den Masterstudiengang Zeitgenössisches Theater, Tanz und Dramaturgie an der Universität Utrecht ab. Sie hat Erfahrung als Lehrerin, Dramaturgin, Forscherin und Theatermacherin und arbeitete mit Organisationen wie dem Delft Fringe Festival, Festival de Oversteek, Hofplein Theater, Oostpool, ITA und Theater na de Dam zusammen. In ihrer Arbeit beschäftigt sie sich vor allem mit der menschlichen Wahrnehmung und moderne Technologien wie KI, Deepfakes, Algorithmen und Robotik
Only in English
Digital theatre expert visits the HfS
"Culture Moves Europe" sponsors guest stay by Elsbeth Hoefkens
Elsbeth Hoefkens is a theatre maker, dramaturg, and researcher. In 2021, she obtained her degree in Theatre Education at the ArtEZ University of the Arts in Arnhem, and in 2023, she completed the master’s programme Contemporary Theatre, Dance, and Dramaturgy at Utrecht University. She has experience as a teacher, dramaturg, researcher and creator, working with organisations such as the Delft Fringe Festival, Festival de Oversteek, Hofplein Theater, Oostpool, ITA, and Theater na de Dam. Key fascinations in her work include human perception and contemporary technologies, such as AI, deepfakes, algorithms, and robotics.
Elsbeth You've been at the HfS Ernst Busch for two weeks now. What were your experiences so far? What is your first impression?
My experience at Ernst Busch so far has been great! From the very beginning, I have felt incredibly welcome—both staff and students have been warm, open, and genuinely interested in my research. I have had the opportunity to attend lectures and working sessions, and many people have taken the time to engage in meaningful conversations with me about our shared interests. Their support and insights have been inspiring, providing me with valuable new sources and connections. Overall, it has already been an enriching and rewarding experience, and I’m excited to see what the coming weeks will bring!
As an expert in digital theatre, your artistic research spans both theatre and academic inquiry. How has your focus evolved over time, and what are the key themes that continue to drive your artistic research?
As a theatre maker and dramaturg, my practice is rooted in playful, curiosity-driven research, both artistically and academically. I strive to create a space where critical reflection and wonder coexist—sometimes fostering connection, other times provoking friction or an unsettling sense of confusion.
My work consistently revolves around human perception, which fascinates me deeply. I explore how our perception is constructed and shaped, as well as how it can be influenced, manipulated, and revealed within theatre. My early focus was on the workings of the human brain, the impact of social media on perception, and the subjective nature of algorithms shaped by biased data. Over time, my interests expanded to explore the intersection of robotics and the performing arts, investigating how dramaturgical insights could inform the field of robotics. Specifically, I investigated how humans' embodied perception of robots could offer new perspectives on empathy in human-robot interactions. Building on this, my research broadened into digital theatre, where I explore how emerging technologies reshape our perception, understanding, and society.
In my artistic practice, I often integrate philosophical inquiry, visual sources, and rituals, creating a postdramatic theatre world filled with absurd, humorous, and disruptive elements. Through this, I seek to challenge and inspire audiences, inviting them to reconsider their relationship with technology and the world around them.
Your guest stay at the HfS Ernst Busch is made possible by the "Culture Moves Europe" programme. What exactly does the programme support and why did you choose the HfS Ernst Busch for your exchange stay?
The "Culture Moves Europe" programme supports the mobility of artists and cultural professionals across Europe. Its goal is to foster cross-border collaboration, as well as the exchange of ideas, experiences, and creative work. The programme funds residencies, travel, and cultural events, enabling artists to develop projects, connect internationally, and promote European cultural diversity and dialogue.
I chose HfS Ernst Busch because, during the application process, I spoke with several people about my research interests and many recommended HfS Ernst Busch, particularly the master’s program "Spiel und Objekt." After researching various cultural and artistic institutions in Berlin, I understood why this program was mentioned, as it focuses on the intersection of performance, new media, and socio-technological dynamics, both practically and from a research perspective. Furthermore, I heard great things about HfS Ernst Busch, and my first contact with the school was very welcoming. Therefore, this made HfS Ernst Busch the ideal choice for my exchange stay.
What goals are you pursuing with your stay at the HfS?
During my stay at HfS Ernst Busch, my primary goal is to further specialize as a theatre maker and dramaturg by exploring how technology can create innovative forms of audience engagement. I am particularly interested in digital and AI-driven technologies, such as deepfakes, chatbots, VR, and other interactive media. My focus is on understanding how these technologies can transform the audience experience in theatre, for example by creating more immersive and interactive ways for audiences to engage with performances.
Additionally, I seek to gain insights into contemporary themes and practices at the intersection of theatre and technology, especially in Berlin. I aim to deepen my understanding of how emerging technologies can be practically implemented in theatrical contexts to enhance audience interaction. Through this exploration, I hope to refine my artistic vision by developing a clear perspective on the application and impact of technology in theatre.
By the end of my stay, I intend to articulate my artistic vision on the use of technology in theatre. I also plan to write an article that contributes to the current discourse on theatre and technology in Berlin, providing concrete examples and insights.
Finally, a look into the future? What recommendations would you give our university with regard to digital theatre? Where should we develop?
One of the things I truly value about HfS Ernst Busch, in relation to my area of focus, is the Digital Lab. It gives students the opportunity to explore a variety of technological tools, with support readily available. While I believe not every student needs to become an expert in these technologies, I do think it's essential for them to be introduced to them throughout their studies. Based on my conversations with the staff, it’s evident that there is a shared belief in the importance of technology in the arts, especially given its central role in everyday life. Gaining experience with technology not only opens up creative possibilities for students but also equips them with the skills necessary to present their work digitally, which is increasingly important. After all, submitting work for festivals or residencies often happens through digital means, and understanding how to navigate that world is thus vital.
While I sense a strong commitment at HfS to engage students with technology, I believe there's still room for development. From a student’s perspective, there is always too little time and too much work to do, and this combined with the unfamiliarity some might have with technology, can make engaging with technology feel inaccessible. Integrating technology more systematically into the curriculum could help, ensuring that every student—whether they choose to continue with it or not—gains the confidence and knowledge to explore technology in their work.
Additionally, it's important to integrate research into this process, enabling students to critically explore technology's role in theatre. By offering mandatory modules on, for example, digital storytelling, interactive theatre techniques, and the potential for enhancing audience accessibility, followed by hands-on group creation, the school can foster a deeper understanding and inspire innovation.
