The extension of the dramatic stage doesn’t end with expanding it via the use of new technologies; this can also be achieved by focusing on what a specific media design can contribute to the narrative sequence. And this can also be a matter of considering the creation of such a narration—the means of expression as template of the script, and the script as template of the means of expression.
And the question of the extension of the stage ultimately segues into the question of dissolving it altogether. Ever since the 1920s, a wide array of performance practices have been doing away with and reconfiguring the stage and the audience seating area, the cast and those partaking of their portrayals. The question of a new aesthetic of performative art cannot be exhaustively answered. The Ars Electronica Futurelab does predominantly experimental work and frequently collaborates with invited artists, often with the aim of enriching performative aesthetics with new participative methods and strategies, and advancing this process as radically as possible.