Computer Theater

The basic argument of this paper is that until recently theatrical performances involving human and computer actors were not possible due to the lack of appropriate computational models for action representation, recognition, and generation. This paper surveys and classiies some recent experiments in computerized performances, and uses this classiication as a framework to establish the importance of action as a foundation of computer theater. It also argues that computer theater has many characteristics which qualify it as a good domain for AI and computer vision research on action. Finally, an example of a script for a computer theater performance is provided and analyzed in terms of scientiic and technological challenges. Action is the basis of theater 1 and, as such, needs to be fully incorporated in whatever model a computer is running during a computer-based theatrical performance. I believe the lack of good models for action is the basic reason for the relative absence of experiments involving theater and computers. The attempts to wire up stages or performers were in general concerned with dance (for instance, 20]), depending solely on the detection of positional and spatial movements. Computer theater not only requires action representation and recognition but it is also an interesting domain for action research. To support this argument I begin by examining the multiple possibilities of making theater with computers, concerning both explored and unexplored developments. Some attempts to represent and recognize actions are examined in the second part of the paper, followed by the analysis of a very simple script written for a computer theater performance. 1 Computer Theater As much as museums and art galleries seem to depend on the physical presence of objects, a performance requires the sharing of a common physical space. Otherwise the fundamental relation, the suspension of disbelief, does not take place. In this paper I consider as computer theater only situations which involve human performers and audience in the same physical space, therefore excluding the idea of \dis-tributed theater" as proposed by Krueger ((17], pg. 221). 1 Langer, in 19], chapter 17, contains an interesting discussion about the basics of theater. By doing this I am not ruling out the importance of new theatrical forms of art and entertainment which do not require physical sharing of space. My objective is mostly to delimit the scope of computer theater to simplify the analysis and be able to draw generic conclusions. I also …