Project development prototype

Mensch Maschine Cyborg dancing (Unreal Engine goes to Theater, The World in 3D)

Interactive immersive motion controlled VR / 3D video dance performance

This project is funded by the FFF Bayern.

FFF Bayern - award decision XR of June 25, 2020 FFFF Bayern
Award decision Extended Realities XR from June 25th, 2020: Project development XR

Mensch Maschine Cyborg Dancing Applicant: Angelika Maria Meindl Mahnecke,

MunichPlatforms: VR experience for Oculus Rift 3D video


dance performance should be made possible. In terms of content, the performance deals with the conflict between the technology-driven pursuit of perfection and efficiency as well as the longing of the individual to find and experience himself. Using 3D projectors and a three-dimensional sound field, the dispositive of the stage and auditorium is to be lifted and a constantly changing space is created. Visual and auditory elements should interact with the movements of the dancers via sensors.

Key staff / partnerships


We looked for partners and formed partnerships to develop this project together.


Key staff 

  • Art Director:       Angelika Maria Meindl Mahnecke
  • Visuel Design:    Tobias Gremmler: website
  • Technical Director:    Thomas Mahnecke link
  • Produktionsleitung:   Claudia Mittermaier
  • Sound Design:    Fred Lutz


Purpose of the project:

Each of our current decisions influences our future and is in constant motion and change. Nothing stands still, but we move with our thoughts and actions like a pull of events, imaginations and visualizations that manifest and change again, a constant flow without standing still. This meta-level that surrounds us, in which we act and daily visualize our own chain of events, consciously and unconsciously, we let through the installation and performance.

It surrounds the actors and the audience alike.


Our concern is to move away from performances in which the viewer looks at the events on the stage from the outside, to a joint immersion in visionary images in an interactive "real-virtual world" that surrounds the viewer.

This is possible thanks to the interactive and immersive 3D projections surrounding the audience in a three-dimensional sound field. A constantly changing space that does not allow a referential spatial structure, but leaves the space and time structure in suspension, becomes itself an apparently amorphous being that connects with the movements and bodies of the dancers.



Vision becomes reality!


Let us imagine that the visual boundaries between live performance on stage, projections and audience dissolve. The space, the stage design and the performers merge into a single, visually perceptible, three-dimensional “hyperworld”. Here in these hybrid, virtual worlds are new, unimagined options for theater and show development. Novel digital and interactive museum multi-user exhibition scenarios and worlds of experience can also be more easily developed and implemented in live events.


The aim of our "prototype" development is to create the prerequisites for creating a new kind of real / virtual stage world with a real-time representation of the 3D digitally projected stage set with simultaneous interaction with lighting, sound and stage control systems. A real multi-user interaction between the actors on the projection stage and the audience. For directors as well as for choreographers and the audience, almost endless dimensions open up that challenge our perception and inspire the imagination. By using modern motion tracking systems that are linked to digital avatars in real time, e.g. in contemporary dance the choreography of dimensions and movements, the imagination of which only we set limits. Not only dancers and “avatars” are choreographed together, but spaces, projection and actors can hardly be distinguished either. They mix up. Together with them, we dive into the three-dimensional “hyperspace”, in which everything is possible and space and time have dissolved.



why was the technology chosen


Stage designs projected three-dimensionally through 3D projectors or LED walls are currently rarely offered to the public in theater shows, entertainment shows or museums. Only in 3D cinema films can viewers experience these three-dimensional worlds regularly outside of a VR world. This is due on the one hand to the complicated technical possibilities and on the other hand to the extensive production effort. Many different hardware and software systems have to be used for this. In particular, adapting and changing a fully rendered 3D scene for the digitally projected stage design requires a lot of time and therefore high costs. The integration of interactive elements, such as the live use of motion capture systems or other tracking systems and interfaces for the development of interacting scenes, is a technically demanding challenge. Also in museums, more and more real multi-user experiences are in demand, in which several visitors can interact without contact and perceive a 3-dimensional world outside of VR glasses.

To the best of our knowledge, there is no system in which we can simply use a certified hardware in a software environment to create content, change it in real time, correspond with different interfaces, interact and immediately use the "nDisplay" technology on the "stage" in real time can represent.


IMAX Deutsches Museum

Test Showroom:

Innovation and user experience


Art, XR, media technology and ideas combine to create new possibilities


Our key staff have a great deal of experience in artistic staging, in the theater, show or in the visual field. We know the requirements and possibilities of real and digital worlds of experience. In this interdisciplinary combination of different areas that actually act separately, we are able to develop a system (prototype) that offers the possibility of creating immersive three or two-dimensional real / virtual and audiovisual "space worlds", and also immersive XR experiences in parallel, on VR or AR devices, we combine our knowledge and the advantages of our technologies into a new, innovative workflow in which we create real-time, photo-realistic, immersive audiovisual worlds of experience based on a game engine, and this with the help of special computer hardware in real time Represent the environment or on stage.

This combination ensures smooth use for complex audiovisual real-time projects, because we have already programmed and prepared all the necessary plugins and links within the loaded project file so that the hardware components to be used only have to be connected so that creative, interactive "room worlds" can be created more easily can.



The "Unreal Project" is ideally prepared for the projection on the stage, because all essential options for a projection on the "stage" are contained in the project file as content modules. With the help of the Unreal Engine software, state-of-the-art interactions can be realized in real time on stage that were previously difficult to implement technically, because plugins and links in the project file are already preinstalled for the use of interactions with the common interfaces and these can be used easily. In this way, stage design projections can act directly on the stage or react reactively or interactively with lighting, sound and stage technology.

The prototype should be able to cooperate with an existing hardware / software architecture in the theater or show area so that the existing hardware does not have to be replaced, but can be used as usual. This results in cost savings, since the original system cannot be replaced, but rather can be supplemented in a variety of ways.

The biggest advantage of our prototype is the principle WYSIWYG - What You See Is What You Get.

Everything that changes in the image or content is immediately displayed in real time on the corresponding output devices (e.g. 3D projector). The time-consuming rendering of the visualizations as well as the associated data transmission and import into media playout systems are no longer necessary.

This is a huge advantage when staging on stage because changes in content are no longer a video department's nightmare. Due to the quick results, the feeling that should be created by the viewer and the vision of the director can come as close as possible.

This innovative real-time workflow enables enormous time and cost savings of such projects and completely new possibilities for creatives and viewers.


In summary, our prototype should have the following basic properties:


Modify and customize content in real time, eliminating the need for complex rendering processes.

Support of the VR system Oculus Rift

Support of motion tracking systems (neuron perception, Rococo motion capture suit)

three-dimensional immersive real-time display with 2D or 3D projectors

Creation of an immersive soundscape



Video: Tobias Gremmler

Time schedule


We put time into storyboard, visual conception and proof of concept unreal prototypes. The forerunner of a prototype already combines nDisplay with several 3D projectors, motion tracking and the first visual tests that run on the target hardware.

At the beginning of the project on July 1st, 2020 we developed the concept (1 month) and the prototype (3 months) for a short showing with two live dancers (duration approx. 20 minutes) in order to present the possibilities in a short performance.

This showing will be presented to a selected audience from politics and culture as well as from the museum, theater, show and event scene at the next opportunity / or in due time in Munich in the “Muffatwerk” cultural center.

For this “Showing” we have the support of the Cultural Department Munich and the German Museum Munich (VR Lab).


Video: Tobias Gremmler


Angelika Maria Meindl Mahnecke/ creative director, chroeography

Thomas Mahnecke/ visualizations, technical management


Premiere of Man Machine Part 3 in the "Kraftraum" of the Deutsches Museum in October 2018