The Actor Occluded: Puppet Theatre and Acting Theory

Tillis, Steve

doi:10.1353/tt.1997.0014

Cited by 7 publications

(2 citation statements)

References 7 publications

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“…It could be argued as to whether the robots are indeed acting or not, as they lack of any consciousness and because there is a decoupling between the physical body on the stage (the mechanical robot) and the source of the actions coded by the engineer (behind the scenes). This decoupling is still an open topic of discussion in theatrical performances with puppets [16], [17]. In our work, the engineer takes the role of the director to instruct the robots about the screenplay.…”

Section: Kilobot Robots On Stagementioning

confidence: 99%

Robots as Actors in a Film: No War, A Robot Story

Reina,

Ioannou,

Chen

et al. 2019

Preprint

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Will the Third World War be fought by robots? This short film is a light-hearted comedy that aims to trigger an interesting discussion and reflexion on the terrifying killerrobot stories that increasingly fill us with dread when we read the news headlines. The fictional scenario takes inspiration from current scientific research and describes a future where robots are asked by humans to join the war. Robots are divided, sparking protests in robot society... will robots join the conflict or will they refuse to be employed in human warfare? Food for thought for engineers, roboticists and anyone imagining what the upcoming robot revolution could look like. We let robots pop on camera to tell a story, taking on the role of actors playing in the film, instructed through code on how to "act" for each scene.

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Section: Kilobot Robots On Stagementioning

confidence: 99%

Robots as Actors in a Film: No War, A Robot Story

Reina,

Ioannou,

Chen

et al. 2019

Preprint

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“…Devoid of agency herself, she is the "site of [a] signification" that originates from someone else, the puppeteer hidden in the wings. 45 This explains the fascination of the recalcitrant puppet as a figuration of women's anger. Refusing the restraints of occluded patriarchal interests, the Maries are not just dolls who seize their own "Easter Sunday" but mannequins in rebellion.…”

Section: Dolls In Feminist Satirementioning

confidence: 99%

Dolls in Fragments: Daisies as Feminist Allegory

Lim¹

2001

Camera Obscura: Feminism, Culture, and Media Studies

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tain resistance on the part of authority." 1 Daisies [Sedmikrásky] (Czechoslovakia, 1966) was no exception. Denounced by state deputies in Czechoslovakia for "hav[ing] nothing in common with our Republic, socialism, and the ideals of communism," 2 Daisies was initially banned and only eventually allowed public screening, and Chytilová herself was barred from filmmaking from 1969 to 1975.The product of a collaboration between three premier filmmakers of the Czech New Wave (Chytilová, Ester Krumbachová, and Jaroslav Kucera), 3 Daisies turns upon the picaresque exploits of two beautiful girls, Marie 1 and Marie 2 (played by two nonactors, Jitka Cerhová and Ivana Karbanová, respectively), whose destructive antics are rendered in an episodic narrative that ends by punishing them for their many infractions and inability to reform. In interviews and historical documents, Chytilová has always maintained that she intended Daisies to be a coded critique of its protagonists. In her view, the socialist bureaucrats who denounced it for celebrating its depraved hero-

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Theatrical Events and Theatre Forms

Tillis

2020

The Challenge of World Theatre History

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The Actor Occluded: Puppet Theatre and Acting Theory

Cited by 7 publications

References 7 publications

Robots as Actors in a Film: No War, A Robot Story

Robots as Actors in a Film: No War, A Robot Story

Dolls in Fragments: Daisies as Feminist Allegory

Theatrical Events and Theatre Forms

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