포스트휴먼 생명형식의 배우-되기와 그 한계

Abstract

Acting has been wholly human-centric up to present. According to the developing speed of science and technology, however, the advent of various organic bio-matter on Earth in the near future will be possible. It might soon be feasible that, not only human actor/ actress, but all the non-human/ animal/ machine get trained for acting and finally show up in stage altogether. It will be the most adequate time under post-human umbrella for restarting discourse on both the essence and subject of acting, in which differing environment and its surrounding relations are getting more and more complicated. This study, first, glanced images of bio-matters of imagination crossing species-divisionary line, in which realistic realization be wholly not excluded. And then, focusing on the emergence of robots which is related to post-human dehumanistic bio-matter, the study also attempted to examine the possibility of robot’s stage acting. Appropriation, which re-owns human conditions of self and is capable of reproducing them, and which handles belongings to self as freely as needed becomes either a foundation or a peculiarity for creative activities. Arising from the appropriation of both animality and naturalness, creative potentiality of actor/ actress becomes alive. Totality is close to organic unity as harmony of flexible and stronghold spirit of self. Stage becomes able to shine spurting dynamic breath, when incidental and necessary rhythmic activity of totality, and together with these accidental wholeness get glows like a light of flash. There exists compulsion opposite to appropriation, and alienation opposite to totality. And I found those compulsion and alienation from robots on stage. With those reasons, whatever can be possible, robot’s becoming actor/ actress seems nonsense to me. The definition that theatre is born as an art by human being is still useful and will be forever valid. For now, it will be necessary to investigate the intention of production hidden behind robot’s appearance on stage, rather than robot’s acting itself. It will probably be needed to conceive the helpful acting techniques for robot, which prepare only for the cases we invite robots as guests to our theatrical stage.