Could a robot become a successful actor? The case of Geminoid F

Ester Fuoco

doi:10.18778/1505-9057.65.11

Autor

Ester Fuoco Digital Humanities-Performing Arts, Post-doc Researcher at IULM University https://orcid.org/0000-0003-1939-7100

DOI:

https://doi.org/10.18778/1505-9057.65.11

Słowa kluczowe:

teatr androidów, aktroid, ucieleśnienie, uwikłanie, sztuki performatywne

Abstrakt

Czy robot może być dobrym aktorem? Czy może zbudować relację opartą na zrozumieniu i empatii z innymi aktorami lub widzami? Niniejszy artykuł oferuje zaledwie przebłysk, pierwszy ślad badań nad ważnym obecnie zjawiskiem, które ma wpływ na sztuki widowiskowe, a mianowicie integrację sztucznych agentów zarówno w procesie twórczym, jak i w przedstawieniu teatralnym. Problem zostanie przedstawiony na przykładzie androida Geminoid F, bohatera sztuki Sayonara (2010) japońskiego reżysera Orizy Hiraty. Jego twórcą jest ekspert robotyki z Uniwersytetu w Osace, profesor Hiroshi Ishiguro, który uczył anroida przez naśladowanie gestów profesjonalnej aktorki. Oglądanie androida jest specyficznym doświadczeniem estetycznym: z pozycji widza granica między człowiekiem a robotem jest niejasna. Geminoid F stał się bohaterką filmu o tym samym tytule, nakręconym w 2015 roku przez uznanego na całym świecie japońskiego reżysera Koji Fukadę.

Pobrania

Statystyki pobrań niedostępne.

Biogram autora

Ester Fuoco - Digital Humanities-Performing Arts, Post-doc Researcher at IULM University

Ester Fuoco – has a PhD in Digital Humanities and Histoire et Sémiologie du Texte et de l’Image. In 2022 she obtained the French qualification of Maitresse de conférences en Art du spectacle. In 2021, she won a research grant at the Institute of Biorobotics of the Scuola Superiore Sant’ Anna for robotic development and experimentation in the Performing Arts. She is currently a post-doc researcher at IULM University with a two-year project entitled Teatro Onlife: convergenze creative e di fruizione tra live, digital e transmedialità. She has held numerous seminars and conferences abroad and in Italy, and her research and publications are in the areas of Contemporary Performing Arts, Aesthetic of Digital Performance and Theatrical Anthropology. Her recent publications include the book: Né qui, né ora : peripezie mediali della performance contemporanea and the essays Rendre visible le mouvement du temps; Performance without Actors: The Theatrical Docu-Fiction; L’anamorphisme du corps béante sur la scène numérique; Carnefice o spettatore? L’ingaggio spettatoriale in The Repetition. Histoire(s) du théâtre di Milo Rau.

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