Not to be Human: Understanding Movements and Interactions made by Technological Non-Human Performers in a Theatre Setting

Abstract

Since the 19th century, astonishing developments in technology in different fields have been made. The theatre field also started to experiment more with technological objects on stage from the moment they became available. Such objects include television screens, internet connections, drones or in some cases even robots. Technology has can thus become a performer, creating new interactions and possibilities. This thesis analyzes how the movements and interactions of non-human objects allow for an experience of seeing these objects as autonomous performers. It will be demonstrated that objects can be seen as actors, and even as performers, following Bruno Latour’s Actor Network Theory. By discussing the performances The Internet of Things of performance collective URLAND and DANCER #3 of Kris Verdonck on the effects of kinesthetic empathy, the uncanny valley and anthropomorphism, a critical performance analysis is made. A connection is made with Japanese Bunraku puppets, as it is clear that the robots could be seen as puppets. However, in the experience of a non-human object as autonomous, the presence of a human performer on stage plays a big role, even though the stage itself evokes a basic anthropomorphic feeling. It can be concluded that the effects of the mirror neuron system, as it triggers kinesthetic empathy, and anthropomorphism are experienced at the same time, enabling to both understanding the movements of an object and projecting human characteristics on an object. A non-human object that does not resemble a human could easily replace a human performer as the spectator gladly accepts a suspension of disbelief.