2022 Future Stage
Manifesto Panel
(China) Registration
Scan QR Code for RegistrationFuture Stage | An international research collaborative mapping opportunities for performance spaces in a hyperconnected world
Future Stage is an international initiative broadly concerned with the future of the performing arts: with the needs and possibilities for media, culture, and presence in a hyperconnected world; the civic stakes of the performing arts today; emergent modes and genres of performance and organization; the architecture of future performance spaces; and the future professions that will animate those performance venues.
It is both theoretical and practical: consisting in A Manifesto for the Future Stage (which was published on Oct. 25, 2021 and has now been translated into nine languages) and in an array of related hands-on projects that are connected to the manifesto’s key themes: performance as a human right, architectures that promote connectivity, expanded concepts of liveness, sustainable models of touring, a rethinking of streaming not as fallback option but instead as expressive medium, and the need for new institutional and fiscal models.
The manifesto was developed by a group of roughly forty leading figures from the performing arts world, from dancers, musicians, and actors to technologists, designers, and architects, to policy makers, tour organizers, and directors of cultural institutions over the course of six months of online convening. The group covered the entire globe from East to West and North to South. And it was animated by the ambition of transforming the post-Covid “return to normal” not into a return, but instead into an opportunity to reimagine the future of the performing arts.
To access the full report, click the image below
or visit: https://mlml.io/p/futurestage/
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Future Stage is an international initiative broadly concerned with the future of the performing arts: with the needs and possibilities for media, culture, and presence in a hyperconnected world; the civic stakes of the performing arts today; emergent modes and genres of performance and organization; the architecture of future performance spaces; and the future professions that will animate those performance venues.
It is both theoretical and practical: consisting in A Manifesto for the Future Stage (which was published on Oct. 25, 2021 and has now been translated into nine languages) and in an array of related hands-on projects that are connected to the manifesto’s key themes: performance as a human right, architectures that promote connectivity, expanded concepts of liveness, sustainable models of touring, a rethinking of streaming not as fallback option but instead as expressive medium, and the need for new institutional and fiscal models.
The manifesto was developed by a group of roughly forty leading figures from the performing arts world, from dancers, musicians, and actors to technologists, designers, and architects, to policy makers, tour organizers, and directors of cultural institutions over the course of six months of online convening. The group covered the entire globe from East to West and North to South. And it was animated by the ambition of transforming the post-Covid “return to normal” not into a return, but instead into an opportunity to reimagine the future of the performing arts.
To access the full report, click the image below
or visit: https://mlml.io/p/futurestage/
About Future Stage Manisfeto Panel
(CHINA)
At 9 am on May 26th 2022 (Beijing Time), BCAF will invite 20 leaders of Chinese performing arts industry to discuss the future of performing arts, support the growth of the new generation of performing arts, provide valuable inspirations to the community. This panel would be a new visionary platform for the China’s performing art community in the post-pandemic era.
Since 2008, Beijing Contemporary Art Foundation (BCAF) supported new generations of original creators in China and curated cultural exchange programs in 19 countries globally. In 2021, Cui Qiao, President of Beijing Contemporary Art Foundation, was invited to join as expert researcher of the international working group.
metaLAB x BCAF
presents
2022 Future Stage Manifesto Panel (China)
Performing Arts in the Post-Pandemic Era
Organizations
Hosts
metaLAB (at) Harvard
Beijing Contemporary Art Foundation
Co-Hosts
Central Academy of Drama
(Beijing, CHINA)
Institute of Theater Studies
Shanghai Theater Academy
China Institute of Stage Design
New Media Art Committee
presents
2022 Future Stage Manifesto Panel (China)
Performing Arts in the Post-Pandemic Era
Organizations
Hosts
metaLAB (at) Harvard
Beijing Contemporary Art Foundation
Co-Hosts
Central Academy of Drama
(Beijing, CHINA)
Institute of Theater Studies
Shanghai Theater Academy
China Institute of Stage Design
New Media Art Committee
Date
May 26th, 2022
Thursday
9:00am—1:30pm (Beijing Time)
May 25th, 2022
Wednesday
9:00pm—1:30am+1day (EDT, U.S.)
Location
Tencent Meeting
Language
Mandarin
Registration
Please scan QR Code
and fill out the form below
or email info@bcaf.org.cn
to sign up for free
May 26th, 2022
Thursday
9:00am—1:30pm (Beijing Time)
May 25th, 2022
Wednesday
9:00pm—1:30am+1day (EDT, U.S.)
Location
Tencent Meeting
Language
Mandarin
Registration
Please scan QR Code
and fill out the form below
or email info@bcaf.org.cn
to sign up for free
Schedule
(Beiijing Time)「 2022/5/26/9:00 am 」
Virtual Speech: Jeffrey Schnapp & Paolo Petrocelli
+
Introduction: “A Manifesto for the Future Stage”
Panel Talks
#1 Re-building Theater in the Post-pandemic Era—the Birth of the Future Stage
“The future stage needs to be intimately entangled with the other stages on which contemporary life is performed: from the streets and sidewalks to Tiktok and Zoom to the workplace to cultural festivals and fairs. Just as the future stage requires new physical architectures, infrastructures, and modes of performance, it demands new, more versatile and flexible approaches to organizational and business structures, and to performing arts management and staffing. ”
“The future stage needs to be intimately entangled with the other stages on which contemporary life is performed: from the streets and sidewalks to Tiktok and Zoom to the workplace to cultural festivals and fairs. Just as the future stage requires new physical architectures, infrastructures, and modes of performance, it demands new, more versatile and flexible approaches to organizational and business structures, and to performing arts management and staffing. ”
MODERATOR
SHEN Lin
Professor, Central Academy of Drama
PANELISTS
GAO Yunjie
Director, American & Oceanian Division China Performing Arts Agency (CPAA)
FENG Jiangzhou
Chair, New Media Art Committee, Chinese Institute of Stage Design
LIU Zhixin
Dean, College of Creative Studies, Shanghai Theater Academy
Artistic Director, Shanghai Virtual Simulation Laboratory for Multimedia Performance
WANG Chong
Avant-garde Theater Director
Live stream theater: “Waiting for Godot 2.0”, “The Plague”
SHEN Lin
Professor, Central Academy of Drama
PANELISTS
GAO Yunjie
Director, American & Oceanian Division China Performing Arts Agency (CPAA)
FENG Jiangzhou
Chair, New Media Art Committee, Chinese Institute of Stage Design
LIU Zhixin
Dean, College of Creative Studies, Shanghai Theater Academy
Artistic Director, Shanghai Virtual Simulation Laboratory for Multimedia Performance
WANG Chong
Avant-garde Theater Director
Live stream theater: “Waiting for Godot 2.0”, “The Plague”
#2 From the Real World into the Stream — Live Streaming as Future Stage
During the pandemic, live streaming became the new stage. “For streaming to become a key expression of liveness plus, the stream must become a fully integral feature of every performance, no less integral or material than the site of performance, the company, the performers, the atmosphere. Accordingly, it needs to become part of the conceptual and physical infrastructure of every future stage. ”
During the pandemic, live streaming became the new stage. “For streaming to become a key expression of liveness plus, the stream must become a fully integral feature of every performance, no less integral or material than the site of performance, the company, the performers, the atmosphere. Accordingly, it needs to become part of the conceptual and physical infrastructure of every future stage. ”
MODERATOR
ZHANG Yuan
Performing Art Curator
PANELISTS
SHI Jieyu(Venus)
Member, China Association of Social Economic & Cultural Exchange, Art Design and Education
General Manager, Chengdu Star-Win Culture Media Co., Ltd
CHENG Hongjia
SVP, iQiyi
BAO Xiaoqun
Distinguished Professor, Creative Entertainment Lab, Shanghai Tech University, School of Creativity and Art
WANG Zhi Ou
New Media Artist
Visual Director, 2022 Beijing Winter Olympics Opening Ceremony
Torch Designer, 2022 Beijing Winter Olympics
Founder & Creative Director, Blackbow
ZHANG Yuan
Performing Art Curator
PANELISTS
SHI Jieyu(Venus)
Member, China Association of Social Economic & Cultural Exchange, Art Design and Education
General Manager, Chengdu Star-Win Culture Media Co., Ltd
CHENG Hongjia
SVP, iQiyi
BAO Xiaoqun
Distinguished Professor, Creative Entertainment Lab, Shanghai Tech University, School of Creativity and Art
WANG Zhi Ou
New Media Artist
Visual Director, 2022 Beijing Winter Olympics Opening Ceremony
Torch Designer, 2022 Beijing Winter Olympics
Founder & Creative Director, Blackbow
#3 Liveness Plus: Between the Presence and the Virtual
“‘Liveness’ can and must remain an essential attribute of all spectacle forms both past and present. But ‘liveness’ on the future stage means grappling with the when, what, and where of performance under conditions that blur the boundaries between presence and tele-presence, between the embodied and the mediated, between human actions and flows of data, between consciousness and the metaverse. ” As a result, touring “live” performances will take on new meaning.
“‘Liveness’ can and must remain an essential attribute of all spectacle forms both past and present. But ‘liveness’ on the future stage means grappling with the when, what, and where of performance under conditions that blur the boundaries between presence and tele-presence, between the embodied and the mediated, between human actions and flows of data, between consciousness and the metaverse. ” As a result, touring “live” performances will take on new meaning.
MODERATOR
MAN Ding
Producer, 2332 Studio
PANELISTS
SUN Liang
Professor, Central Academy of Drama
Director, Experimental Theatre Troupe of Central Academy of Drama
Deputy Director, Research Center for Chinese Drama Culture Development Strategy
LI Jianjun
Director, New Youth Group
Experimental Theater: "The Madman's Diary", "World On a Wire"
YAN Donghan
Founder, WUJIN XINYU
Immersive Theater Director
Immersive Theater: "New World"
CHEN Ruokun(Totti)
Founder & CEO, Digital FUN
Founder, TEA Community
Mentor, Key Laboratory of Ministry of Culture and Tourism
MAN Ding
Producer, 2332 Studio
PANELISTS
SUN Liang
Professor, Central Academy of Drama
Director, Experimental Theatre Troupe of Central Academy of Drama
Deputy Director, Research Center for Chinese Drama Culture Development Strategy
LI Jianjun
Director, New Youth Group
Experimental Theater: "The Madman's Diary", "World On a Wire"
YAN Donghan
Founder, WUJIN XINYU
Immersive Theater Director
Immersive Theater: "New World"
CHEN Ruokun(Totti)
Founder & CEO, Digital FUN
Founder, TEA Community
Mentor, Key Laboratory of Ministry of Culture and Tourism
#4 New Funding Models for the Future Stage
“Performing arts financing is broken; broken in a multitude of ways. It innovates as an afterthought. It allocates resources asymmetrically, on the basis of precedent, often with scant regard for shifting demographics and societal change. Instead of thinking ahead, it thinks backward. And it underestimates the role of cultural institutions as drivers of value creation beyond local and regional economic development. It needs to be reinvented. ”
“Performing arts financing is broken; broken in a multitude of ways. It innovates as an afterthought. It allocates resources asymmetrically, on the basis of precedent, often with scant regard for shifting demographics and societal change. Instead of thinking ahead, it thinks backward. And it underestimates the role of cultural institutions as drivers of value creation beyond local and regional economic development. It needs to be reinvented. ”
MODERATOR
YUAN Hong
Theater Producer
PANELISTS
ZOU Shuang
Artistic Director, Beijing Music Festival
CAO Yan
Manager, Xi'an Concert Hall
General Manager, Xi’an Symphony Orchestra
Crystal
Artistic Director, "31 Young Creator Program" NEW BUND31
ZHU Decai
Founder, Shenzhen Fringe Art Center
Curator, Shenzhen Fringe Festival
YUAN Hong
Theater Producer
PANELISTS
ZOU Shuang
Artistic Director, Beijing Music Festival
CAO Yan
Manager, Xi'an Concert Hall
General Manager, Xi’an Symphony Orchestra
Crystal
Artistic Director, "31 Young Creator Program" NEW BUND31
ZHU Decai
Founder, Shenzhen Fringe Art Center
Curator, Shenzhen Fringe Festival
「 2022/5/26/1:15 pm 」
Ending Note
Ending Note
About the Hosts
metaLAB (at) Harvard
Founded in 2011, metaLAB (at) Harvard is an institutional unit within the Berkman Klein Center for Internet and Society, where it is involved in the Center’s research efforts in such domains as artificial intelligence, social justice, internet governance, cybersecurity, and the law. It is physically located on the 4th floor of 42 Kirkland Street within Harvard’s Graduate School of Design. Because design practice is fundamental to its ethos, metaLAB maintains close ties to GSD faculty, students, and academic programs, as well as to Harvard’s Faculty of Arts and Sciences.Beijing Contemporary Art Foundation
The only foundation and cultural think tank in China focusing on contemporary humanities and artsWith extensive public programs in major fields including Cultural Creativity, Art for Social Welfare, and Think Lab, BCAF enhances the diversified public life, sharing art equally with all.
BCAF is dedicated to supporting new independent generation for international cultural exchange, and advancing the public welfare especially for children, women and minority. Our notable and awarded projects include China Art Film Fund, China-EU Cultural Research Project, Creative China Festival, China Pavilion at the Venice Biennale, China Eco Design, China-France Cultural Forum, China-India Cultural Mapping Research, China-Japan Cultural Mapping Research, Chinese New Folk Craft, Fellowship for Chinese Young Talents, and International Artist Residency, Asia Art Festival, Creative China Festival etc.
