Since 2019, Juliane Raschel has been the coordinator of Tanzplattform Rhein Main, a cooperation project between Künstlerhaus Mousonturm and Hessisches Staatsballett that is unique in Germany and promotes dance and its diverse actors in the Rhine-Main region and networks them both nationally and internationally. She trained in dance at the State Ballet School in Leipzig until 1997 and then studied history. During her history studies, she was a member of the Leipzig Dance Theater and was involved in networking the independent dance scene with each other and with institutional structures. Before moving to Frankfurt's Künstlerhaus Mousonturm as production manager and advisor to the artistic director, Juliane Raschel was a research assistant on the research project "Body Politics in the GDR - Dance Institutions between Elite Promotion, Popular Art and Mass Culture" at the Institute for Theater Studies at the University of Leipzig from 2012-2014.
"My work has been significantly shaped by the dual perspectives I have gained as a dancer and as an employee of various dance structures backstage. These have been particularly shaped over the past three years by my work in an inter-institutional initiative, between an international production house and a dance company based at two state theaters. I see it as a central task to bring together different resources and pools of experience across the various structures and scenes in order to advance dance at all levels and give it a voice in its many forms of articulation."
Jasmine Fan, born in Taiwan, is a curator, choreographer and dancer based in Hamburg and Paris. Her work handles a diverse spectrum of genres and uses cross disciplinary mediums including film and digital media to translate her concepts to her audience. She is also the founder and current artistic director of TANZAHOi International Dance and Dance Film Festival in Hamburg.
As a curator, Jasmine sees that in the future, digital works will no longer exist only as a documentation of live works of art, but rather, will emerge as a form that will hold its place alongside live performance. New, digital forms present a fresh challenge for audiences and artists to bring together trans-media and hybrid works into an interesting debate space.
As a choreographer with an academic background in dance and film, she focuses on the connection to the dancer's body in the film/ video frame and is interested in how the film perspective influences the language of choreography. The symbolic nature of emerging material in the mainstream of new media has always been her focus, and these virtual perspectives have allowed her to translate them into her personal creations.
Thomas Krupa (born in Bonn, Germany) is a theatre director, stage designer and 360° VR filmmaker. He works at the interface of analogue theatre and its spatial extensions into digital space.
After working for more than two decades in the field of music theatre, drama and dance (e.g. in Essen, Freiburg, Karlsruhe, Munich, Berlin, Expo Hannover, Brussels, New York), he founded a production platform in 2019 under the label "collective archives", which works on the intersection of VR storytelling and simulation in collaboration with singers, actors, dancers, choreographers and VR-artists. Hybrid creations merge the real and virtual worlds by using stage design, art direction and live performance. Offering a new way of telling stories, that enables the artists to bend the limitations of space and making a considerable difference in cultural field.
Krupa just released his new VR 360° film THE WALL 360° (2022, Essen, Dortmund). At the end of September 2022 he is bringing out the world premiere of POSTHUMAN JOURNEY TRILOGY (Giessen), written by Hongkong author Pat To Yan. Since 2011 he is a member of the German Academy of Performing Arts.
Krupa lives with his family in Berlin.
Collaborations e.g. with the Choreographers Amanda Miller, Teresa Rotemberg, Yoshiko Waki and Raphael Hillebrand.
Tina Lorenz came of age in the Chaos Computer Club around the turn of the millennium, but then studied theater studies and American literary history in Vienna and Munich. She was a lecturer for theater history at the Academy for Performing Arts Bavaria, later dramaturge at the Landestheater Oberpfalz and finally consultant for digital communication at the Staatstheater Nürnberg.
She is a founding member of the hackspaces metalab Vienna and Binary Kitchen Regensburg and sits on the fellowship jury of the Dortmund Academy for Theater and Digitality. She has been publishing and speaking on the possibilities of a digital theater since 2012.
At the Staatstheater Augsburg, Tina Lorenz has been responsible for the newly created digital theater division since 2020.
Patrick Schimanski is a director; composer and musician.
Patrick Schimanski has been involved with digital technology in music production since the days of ATARI computers. He stages and designs, among other things, experimental projects with music and language, video and 3D animation. Patrick Schimanski has staged world premieres in contemporary music theater and numerous drama productions at city and state theaters as well as in the "independent scene". As a member of the group 48nord, he has created sound art for Deutschlandfunk Kultur and performed for the Munich SPIELART Festival and the Munich Society for New Music MGNM. He composes and produces music and interactive sound design for contemporary dance, both solo and with 48nord. He has worked with Tarek Assam, Tiago Manquinho and Moritz Ostruschnjak, among others. As a composer in drama he worked with Hans Neuenfels, René Pollesch, Thomas Oliver Niehaus, Konstanze Lauterbach, Isabel Osthues, the set designer Colin Walker and many others. Patrick Schimanski is currently the director of DIGITAL PROCESSES and the FORUM SUSTAINABILITY at the Stadttheater Gießen. In this context, he experiments with "refurbished" devices and looks for innovative digital solutions in the "low budget" and “upcycling” area.
After a successful dance career I made a transition to a video artist. For many years I have been working at various national and international theaters and opera houses, collaborating on productions and producing for and with a wide variety of performing artists. My dancing past and experience give me a sensitive eye to perceive visual, emotional and artistic impulses and to bring them into my work and to implement them artistically. That's why I'm mostly booked in the field of dance, but also for opera, concert halls, musicals, as well as for various artists and events.