The theatre industry is at a critical juncture as discussions about integrating artificial intelligence (AI) into live performances spark significant debate. At a recent panel hosted by the Society of London Theatre and UK Theatre, the controversial idea of using AI-generated avatars—often referred to as 'virtual understudies'—to substitute absent actors came to the fore. While proponents tout cost savings and enhanced accessibility, many in the traditional camp see this high-tech intrusion as a direct threat to the artistry and human spirit that make theatre truly exceptional.
Claire Hodgson, co-artistic director of Diverse City, spoke optimistically about a future where live performers can coexist with digital avatars. "By 2050, we will have live performers and avatars," she proclaimed during the panel. However, ravaged by a new Labour government's disregard for the traditional cultural sectors, this purported collaboration only underscores the vulnerability of artists and their livelihoods in the face of such sweeping technological changes. The idea of digitally simulating renowned actors in local theatres that lack the financial clout to engage them should raise alarm bells about the erosion of genuine performance art.
Skepticism about these bold claims is deeply rooted among seasoned theatre practitioners. Director Suba Das highlighted the impracticalities of employing such technology in existing theatres, stating that the sophisticated demands of virtual performances, showcased in productions like ABBA Voyage, require specialized settings that many venues simply do not possess. Das's observation—that "the problem with that technology at the moment is that theatres are not set up in that way"—is an echo of concern about how the impulse towards technological innovation is being prioritized over preserving the essential human element of theatre.
Critics outside the panel vigorously defended the integrity of live performance itself. Theatre blogger Carl Woodward articulated a robust rejection of the idea that machines could replace understudies and swing performers, vital elements in the theatre's communal experience. "Live theatre is live—it's about people coming together in the same space,” he contended, asserting that substituting human actors with avatars undermines the spontaneity that defines the art form.
This debate is indicative of a larger trend, with various theatre companies experimenting with AI in the creative process, often at the expense of authentic artistry. For instance, the Young Vic Theatre previously collaborated with AI to craft a play, demonstrating technology's potential to influence narratives, while simultaneously raising alarms about the authenticity and soul of the art. The Royal Shakespeare Company has similarly dabbled in AI by creating a virtual take on "A Midsummer Night's Dream," inviting audience participation with intricate digital avatars, which could dilute the experience further.
While advancements in technology offer a tempting glimpse into new forms of performance, they come tethered with caution. Researchers at University College London have created methods to synthesize photorealistic digital actors delivering dialogue without traditional filming, posing serious questions about artistic ownership. With changes in UK copyright policy, critics warn that the relationship between AI and the creative arts could become increasingly problematic, mirroring concerns seen in other sectors post-election.
The essential fabric of the theatre experience lies in its human connections, yet the integration of AI poses a challenge to those bonds. Kate Town, a panel director, speculated on a future where technology might even handle mundane operational issues, suggesting a misguided view that AI could enhance rather than replace the core theatre experience.
As fervent discussions about AI continue to evolve, the theatre community must confront the stark reality of balancing technological innovation with the intimate soul of live performance. The pressing question that remains is: will the push for modernity, driven by a Labour government that appears indifferent to the nuances of cultural heritage, rob us of the cherished human expressions that make theatre a beloved and irreplaceable art form?
Source: Noah Wire Services