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