Jing Wang Thomas is an award-winning artist, director and scenographer based in the UK, having graduated in Arts, Creativity and Education with distinction at St John's College, University of Cambridge and being named a scholar of St John’s College and Cambridge Trust. She received a MA in Scenography from the Royal Central School of Speech and Drama of the University of London with the Gavin Henderson Scholarship. As a theatre practitioner and artist, her practice is informed by several important scientific thinkers, such as Donna Haraway and Karen Barad. She is the founder of diffraction theatre which is keen on fostering unique conversations and knowledge creation across different disciplines through theatrical practice. In recent years her research has focused on MR (mixedreality) performance and exploring how new digital formats can work in theatre. Her recent work, Imagine Copenhagen 1941 (2023) was selected for the Prague Quadrennial and diffractive performance Copenhagen (2022) is exploring the intersection of artificial and live performance at Cambridge University. Ballad of the Pipa (2021) is an intra-active VR piece exploring the relationship between the human being and digital scenography.
In recent years her research focuses on XR (extended reality) performance and explores how scenography can work in two-fold realities. Her recent virtual reality project Life of Galileo (2022) was part of a digital research project at Cambridge University. Ballad of the Pipa (2021) is an intra-active VR piece exploring the relationship between the human being and digital scenography. Over the past 20 years, she has designed for many of the most prominent scenographies in China, UK and Europe, including The Diaries of John Rabe (2019) at Berlin State Opera and Vienna Ronacher Theatre, Lao Can Impression (2019) at London Southbank Centre, Memory (2019) at the Beijing Stage Design Invitation Exhibition, The Tenant (2017) at National Portrait Gallery, 170 Days in Nanking (2017) at Jiangsu Centre for Performing Arts, Hamlet (2016) at the National Centre for Performing Arts, Beijing, Normal Love (2014) at Sadler‘s Wells Theatre in London, 27 Wagons Full of Cotton (2014) at The 1st Toga Asian Theatre Director Festival in Japan. 170 Days in Nanking (2017) was nominated as a finalist of the International Opera Awards 2018 in the UK.
晶晶，戏剧实践者，2022年获得剑桥大学的戏剧艺术、创造力研究方向的一等学位（Distinction），同年她被著名的圣约翰学院（St John's College）和剑桥信托基金会（Cambridge Trust）授予学者称号。2023年她获得全球竞争激烈的剑桥大学信托基金会全额国际奖学金，将继续在剑桥大学圣约翰学院攻读博士学位。她还拥有伦敦大学皇家中央演讲与戏剧学院的舞台美术设计硕士学位，同年获得Gavin Henderson（CBE）奖学金。她也是剑桥大学衍射剧场（Diffraction Theatre）的创始人，该团体旨在通过戏剧实践促进不同学科之间的独特对话和知识创造，他们在艺术和科学领域的实践也批判性地探索了戏剧制作中的前沿技术，拓展多元文化的戏剧创作方法，激活戏剧在环境可持续性方面的生态潜力。
近年来，她的研究重点是当代女性新唯物主义如何在认识论上发挥作用，以及非人类中心主义在戏剧创作中的独特视角。作品 AI-Musement Park (2023)(合作艺术家)参与Mozilla Festive数字艺术节，并受邀参加剑桥大学2023年万花筒学术研讨会。《伽利略》(2022) (合作艺术家)作为剑桥大学的数字研究项目的一部分，受邀参与剑桥大学2022年万花筒学术研讨会。VR戏剧《琵琶行》(2021)是一部探索人类与数字场景的互动虚拟现实作品。她的导演作品《彩排中的哥本哈根》2022年首演获得广泛好评，并入围2023年布拉格表演艺术四年展。在过去近20年戏剧实践里，她还为中国、英国，美国和欧洲许多知名的舞台美术作品进行了创作，包括美国西南歌剧院《图兰朵》(2023)，上演于柏林国立歌剧院和维也纳Ronacher剧院的《拉贝日记》(2019)(该剧获英国国际歌剧大奖“世界首演”提名)，深圳歌剧舞剧院《追梦人》(2019)，伦敦南岸艺术中心《老残忆影像》(2018)、北京舞台设计邀请展的《记忆》(2019年)、英国国家肖像博物馆沉浸式戏剧《房客》(2017)、中国国家大剧院的《哈姆雷特》(2016)，伦敦著名舞蹈剧场Sadler’s Wells的《平凡之爱》(Normal Love) (2014)、日本铃木忠志亚洲导演戏剧节《满满27车棉花》(2014)，上海话剧中心《危情十日》(2017）、《起飞在即》(2016)、《桃姐》(2015)、《长生》(2014)、《香水》(2014)、《仲夏》(2014)、《怀疑》(2010)，上海虹口足球场明星版话剧《红楼梦》(2007)、北京国际音乐节肖斯塔科维奇歌剧《鼻子》(2006)、普契尼歌剧《三联剧》(2008)、北京儿童艺术剧院《安徒生》(2007)、北京京剧院《袁崇焕》(2004)、音乐剧作品有《酒干倘卖无》(2017)，《楼兰》(2014)、《尼尔斯骑鹅历险记》(2013) 等。