For over 10 years, transmedia has been primarily developed in creative industries such as cinema, television, internet and gaming. A transmedia experiment applied to live performance could be made up of different stage/media combinations (web, interactive interfaces, parallel fictions, narrative world(s), etc.) in order to achieve artistic and social innovation.

There has been a noticeable affiliation of “cross-media” and “transmedia” practices. A subtle difference lies in the degree of autonomy characterising the narrative extensions of various media as well as the prioritization or rather centring on the issue of fictional narration or the media aspects. Another difference is found in the quality of the interactivity proposed to the audience and therefore the involvement that these experiments generate. Definitions of transmedia storytelling are constantly evolving and depend as well on the research context.

This practice, which is rarely used in the performing arts, is involved in issues relating to contemporary stage writing: temporal, narrative or conceptual extensions, audience involvement (co-actor, co-creator, participant, etc.), spillover into the public space; interpenetration of reality and the stage, and so on. In its choices, L-EST will seek to focus on a poetics of transmedia writing rather than on a dominant technological approach. In this way, the laboratory can be a true catalyst for the meaning and evolution of this practice by working to make it artistically accepted, notably by mobilising audiences in the transmedia writing process so that they can play an active role in the development of the narrative.