L’inquiétante étrangeté du robot-acteur sur la scène de théâtre
Theater, unlike cinema, is par excellence the art of co-presence between actors and spectators. However, the recent occurrence of robots on stage has raised doubts : are actors in danger of soon being eclipsed by machines that have “the appearance of life without being life”? Is the human the object...
Sábháilte in:
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| Formáid: | Article ou chapitre numérique |
| Teanga: | Français |
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2024
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| Rochtain ar líne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Achoimre: | Theater, unlike cinema, is par excellence the art of co-presence between actors and spectators. However, the recent occurrence of robots on stage has raised doubts : are actors in danger of soon being eclipsed by machines that have “the appearance of life without being life”? Is the human the object of a radical new challenge, a century after Maeterlinck, Jarry and Craig? The author addresses these questions by drawing on Oriza Hirata’s emblematic play Sayonara (2012), which features a humanoid robot. He analyzes the extent to which this scenic proposition can be compared to the art of puppetry, and how the robot’s becoming-actor updates, or displaces, the partition between the living and the artificial on stage. |
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