My experience as a performer is largely informed by my long-term connection with the Bridge of Winds group, led by Iben Nagel Rasmussen. As a practitioner-researcher however, I am engaged on a new journey, where my embodied knowledge is guiding the construction of a virtual archive for theatre practices. During this process, one of the main issues we are facing is that of renegotiating the sense of touch in virtual spaces. As the refined tactile feedback from my masters has taught me to reconnect with the present continuously; is it possible to create this sense of learning via interactive, virtually designed spaces? While aiming at building an immersive space which one can train in and with, what tactics can we imagine to evoke touch-like experiences of force, weight, pressure, connection and above all, care? Furthermore, can such spaces shift the boundaries of what we might understand as touch? These writings are informed by an experiment which translates Odin actress Roberta Carreri’s workshop Dance of Intentions into a virtual archive. Whilst critically approaching this textural translation process and raising the social-political implications of such translations, I will suggest ways in which designed immersive environments can renegotiate tactile experiences in theatre training.

我作为表演者的经历很大程度上得益于我与伊本·内格尔·拉斯穆森 (Iben Nagel Rasmussen) 领导的风之桥乐队的长期联系。然而，作为一名从业者兼研究员，我正踏上新的旅程，我的具体知识正在指导戏剧实践虚拟档案的建设。在此过程中，我们面临的主要问题之一是重新协商虚拟空间中的触觉。正如我的大师精致的触觉反馈教会我不断地与当下重新建立联系；是否有可能通过交互式、虚拟设计的空间来创造这种学习感？当我们的目标是建立一个可以训练的沉浸式空间时，我们可以想象什么策略来唤起力量、重量、压力、联系，尤其是关怀的类似触摸的体验？此外，这样的空间能否改变我们所理解的触摸的界限？这些著作源自一项实验，该实验将奥丁女演员罗伯塔·卡雷里 (Roberta Carreri) 的工作室“意图之舞”转化为虚拟档案。在批判性地探讨这种文本翻译过程并提高此类翻译的社会政治影响的同时，我将提出设计沉浸式环境可以重新协商戏剧培训中的触觉体验的方法。