La sociedad hombre-máquina y las posibles consecuencias de replicar y proyectar en el modelo mecánico las configuraciones naturales del ser humano en el arte escénico

Abstract

My main objective in developing this research is to understand why there is a need to reproduce an identical figure to ourselves, taking it to take the place of an actor, if it is enough that human beings try to coexist and circulate in some way Through our knowledge of this artistic environment, acting: and think that such reproduction will once be one of the greatest artistic proposals or even be established as a new vision in the world of arts, presenting itself in many areas as in medicine, factories and in various processes of elaboration of materials, until becoming linked to the scenic art. And how this need is introduced through literature to film adaptations, to finally expand it, to the point of merging it into theatrical stage space as a new form of artistic representation, reincarnating classic characters as in the adaptation made by the Japanese director Oriza Hirata to the play The Three Sisters of the Russian author Antón Chejov called “The three sisters Android version” in which he uses a robot to interpret the character of one of the sisters. Thanks to this research I discovered that there are different proposals that, although they reinvent the performing art: like this new projection that arises through the union between robotics and theater, but that at the same time detracts from the actor's work, because behind From his work there is a continuous effort that evolves as much as his knowledge. The actor learns from this every day and being romantic, the actor suffers for the world and cries of laughter, exceeds the limits of what the public expects, and is willing to return to start again and be reborn, even with his breathing. So, to begin, I developed a timeline that progressively demonstrates how these figures in their multiple advances have been linked in the cinema, from L'Uomo Meccanico (The mechanical man) in 1920 directed by André Deed, to Ex Machina, written and directed by Alex Garland in 2015. The films named below were played by human actors who represented the robots, that is, within the costumes there was a person who gave them life. But in 2013 the story is split in two: the technological advancement is such that the adaptation made by the playwright Oriza Hirata in the company of Hiroshi Ishiguro, director of the Robotics Laboratory of the Department of Systems Innovation at the Graduate School in Engineering Sciences from Osaka University, Japan, in which he uses a real robot to represent one of the characters in the play "The Three Sisters Android Version". Some time later, this director goes to the cinema and directs the movie Sayonara in 2015 using the same robot of the play who this time performs a leading role. It is therefore that extracting the essence of the theory of the philosopher Carl Jung about the Personality, and using the Four Causes of the being of Aristotle, I manage to make a parallel with both themes: robots and actors. In addition, I took as a premise the Ludismo and the ideology of the Labor Movement, a historical fact that occurred in 1811, to enter to analyze both the negative and positive consequences that arise with the implementation of robots in the performing art. Coming to the big question about what is theater? And referring to José Ortega y Gasset with his "Idea of ​​the Theater", which starting from the theater as "being in shape" subtracts concepts such as: truth, internally justified action, repetition, technique, imagination, to be alive on stage, the theatrical reality and the so-called “internal driving forces” that Constantin Stanislavski speaks of. And finally, Eric Bentley with his contribution to acting in his book The Life of Drama analyzing issues such as: The Dynamic Scheme, the plot and the raw material of the theater. To finally reach the possible negative and positive consequences of putting a robot on stage, based on the theory of Gordon Craig's super puppet.