Zoë Svendsen (zoë/her) is a Brighton/Cambridge-based director/dramaturg/writer/researcher, who makes participatory theatre performances and installations exploring ecological crisis and capitalism, including: Ness/Ness: Displaced, a sonic landscape work adapted from the prose poem by Robert Macfarlane (HighTide/Metal Culture/Estuary Festival); Wild Dress (Hawkwood Centre for Future Thinking), the Amt für Zuwart und Gegenkunft @reEDOcate me! Floating University, Berlin; the cabaret improvisation show, Love Letters to a Liveable Future (Cambridge Junction); the video installation Factory of the Future (Oslo Architecture Triennale); the Artsadmin Green Commission, WE KNOW NOT WHAT WE MAY BE (Barbican), World Factory (New Wolsey Theatre/Young Vic/tour; shortlisted for Theatertreffen Stückemarkt, Berlin); 3rd Ring Out (Tipping Point commission; UK tour).
As dramaturg, Zoë collaborates with directors to adapt classic texts for the contemporary stage, including: Duchess of Malfi, Hamlet, Merchant of Venice (Sam Wanamaker Playhouse), Macbeth and The Tempest (Globe Theatre); A Midsummer Night’s Dream, Measure for Measure and The Changeling (Young Vic); Miss Julie (Aarhus); Othello and Edward II (National Theatre); Arden of Faversham and Macbeth (RSC). Zoë regularly works with the composer and sarod player, Soumik Datta, to create theatre-concert hybrids exploring migration and memory, including Mone Rekho (Purcell Rooms, Edinburgh International Festival; international tour) and Borderland (Queen Elizabeth Hall, with the London Philharmonia Orchestra).
Zoë is Associate Artist at Cambridge Junction, and lectures on dramaturgy and performance at the University of Cambridge, undertaking practice-led research. Zoë designed and teaches the Politics and Culture MPhil course on colonialism, capitalism and the climate crisis. Zoë’s performance research has been developed in several interdisciplinary artistic residencies, including at Hawkwood Centre for Future Thinking, Stroud, the Max Planck Institute for the History of Science, Berlin, and the Cambridge Conservation Initiative, Cambridge. As Associate Artist at the Donmar Warehouse in 2022 Zoë developed the concept of ‘climate dramaturgy’, and is now sharing the ethos and methods of Climate Dramaturgy with playwrights, directors, dramaturgs and producers connected to the East region of the UK, as a recipient of an AHRC Knowledge Exchange fellowship. In September 2023, Zoë collaborated with the three National Theatres (Scotland, Wales, UK), to curate a day-long event for theatre directors, to explore the challenges and affordances artist-led climate care. Zoë’s book, Theatre & Dramaturgy, was recently published by Bloomsbury. Zoë is a founding member of the Naked Theatre, a pan-European theatre network initiated by Belgian theatre director, Luk Perceval.
Roman Senkl (he/him) is a theatre director/writer based in Berlin and Vienna, with a focus on digital and hybrid theater since 2008, both in ensemble theater (Burgtheater Wien, Schauspiel Köln, Volkstheater Wien, Schauspiel Dortmund, Deutsches Theater Berlin) and in independent theater (Ringlokschuppen Mülheim a.d. Ruhr, HAU, Konzertsaal UdK). His pioneering works include stage and multimedia productions, mixed reality performances (AR, VR – including the world’s largest VR environment in Mozilla Hubs with Ars Electronica), holographic projections, as well as apps for interactive storytelling and artificial intelligence.
His work has been nominated for both “Digital Showcase”/Theatertreffen as well as FAUST Prize, his livestreaming projects generated more than half a million views, whilst his creative campaigns received more than 20 international creative awards (including the Golden Lion Cannes, London International Awards, CLIO Awards Las Vegas, ADC Awards International & Germany).
Roman has been co-founder of the “Academy for Theater and Digitality” in Dortmund, Head of the “Digital Arts Laboratory” at the Berliner Festspiele / Theatertreffen as well as Head of the “Department of Digital Arts” at Theater Dortmund; as well as various initiatives, such as the “Plattform Graz” (with Clemens Setz, Gerhild Steinbuch and others), the K.G.I., onlinetheater.live and “Digital Dramaturgy” – a network for exchange in the field of digital arts and theatre. With onlinetheater.live, he has been developing innovative livestreaming formats in the digital space since 2016, in 2020, he founded and organized “UnBoxing Stages Festival” for the Theatertreffen. Roman is a founding member of the Naked Theatre, a pan-European theatre network initiated by Belgian theatre director, Luk Perceval.
Beginning with the season 2024/25 Roman Senkl will be Artistic Director of Burgtheater Wien’s “Kasino”.
Carolyn is a freelance sound designer, working both nationally and internationally. She enjoys working closely with directors, performers and other creative collaborators, from rehearsal room to performance space, to create cohesive and fully integrated designs with the desire to push the boundaries of sound as an artistic medium within theatre. Over the years, Carolyn has built strong and successful relationships with freelance directors and theatre companies alike, including the Royal Shakespeare Company, the Royal Court and Frantic Assembly. Carolyn also has a wealth of experience in the creation and leadership of sound design workshops and has worked with establishments such as Central School of Speech and Drama, Central St. Martin’s College of Art and Design, Wimbledon College of Art and Mousetrap Theatre Projects. She also has experience working in other media genres, including film, animation and exhibitions (including fashion) and live events – and wishes to continue to flourish in these too.
Carolyn was awarded the Tony for Best Sound Design for Life of Pi in 2023, having been nominated for an Olivier Award for the same show in 2022. She also received an Olivier nomination for the Sound Design for Summer and Smoke at The Almeida and Duke of York’s Theatre in the West End in 2019 and had previously won the Olivier for her Sound Design for Chimerica at The Almeida (which transferred to the Harold Pinter Theatre in the Wesst End) in 2014.
Future Work Includes: Ness (a digital soundscape set at Orford Ness, which has been a miliary testing site and is now an internationally important nature reserve) and an RSC production of Roald Dahl’s Big Friendly Giant.
https://www.carolyndowning.co.uk/
Orange is a creative technologist based in Southend-on-Sea, exploring themes such as repetition, cybersecurity, privacy, adaptation and repetition through their work and collaborations. Holding an MSci in Creative Computing from Goldsmiths University of London, they specialize in creating and supporting a diverse range of both online and offline artworks, including social bots, interactive installations, live streamed performances, and web extensions aimed at fostering social accountability.
In addition to their artistic endeavors, Orange actively engages in educational initiatives, conducting workshops and delivering talks on information security, privacy and surveillance. They have collaborated with institutions such as the Centre for Investigative Journalism, The Ferret, TacticalTech, and King’s College London. Beyond the realm of art and education, Orange is deeply involved in efforts to combat the misuse of Pegasus Spyware against human rights activists in the UK, contributing to evidence collection for legal action.
https://kibernetikanto.fyi/
Sally Beck Wippman is a UK-based director, performer, and movement/physical theatre artist; she also works as a freelance producer, project manager, and access support worker for artists with disabilities, blending her artistic ethos with management and administration.
Sally has found her home in various cities around Europe, and the ideas of home, language, sociopolitical justice, and connection are themes at the forefront of her practice. She has a professional history directing study abroad/international education programmes, which informs her professional and creative practice. Originally from Chicago, Sally was a founding member of Migrants in Theatre, an organisation which advocates for equity for first-generation migrant theatre artists in the UK by highlighting the unique strengths and contributions such diverse voices add to the creation, performance, and concept of theatre.
Sally has been working on Transit for two years as a producer and access support.
www.sallyspeaks.com
Pau is an illustrator and graphic designer specialising in comics, children’s books, and games. Their work focuses on themes of queerness, chronic illness, activism, and a broad spectrum of scientific topics, especially from the field of biology. Making socially relevant topics accessible by presenting them in clear language and with strong visual strategy and illustrations is key to their work. In addition to graphic design and illustration, they also work in eduction on global topis.
Pau studied a Bsc and Msc in Biology with the intent of working in science communication. Therefore, they went on to study Visual Communication at Kunsthochschule Berlin Weißensee. Their recent work includes the website design project Queer Type Archive, documenting the visual and typographic history of queer protest posters in Germany, as well as collaborative exhibition and educational projects addressing colonial history and social justice a small rural museum, called kolonialokal. In 2026, Pau was awarded the Lion Feininger Scholarship for a residency at Art OMI in New York State.
Their portfolio can be viewed at pau-mantel.de.
Phil Hagen Jungschlaeger is a digital artist and creative technologist working at the intersection of media art, theater, and opera. He is a media informatics specialist from the Bauhaus University in Weimar. Phil explores the multimedia extension of reality through immersive installations, multisensory computer games, and audio-reactive performances. Shader-based video processing and spatialized sound are recurring focuses. Since 2020, he has been developing a 3D sound audio plugin with Not A Number GmbH at the ZiMMT in Leipzig. As part of the Tarmac Festival in 2021, he launched Polynoiseon, an interactive immersive space with performances. He contributed cinematographically to the sound ecology project “If We Vanish” in India in 2022. He now lives in Berlin and is working with the Berliner Symphoniker on an interactive storytelling app as part of the “Lügen über ALICE” project.
Alongside Roman Senkl, Phil was an original developer of story.glitch, the Unity-based platform on which Transit is built.