Improbotics: Exploring the Imitation Game using Machine Intelligence in Improvised Theatre

Theatrical improvisation (impro or improv) is a demanding form of live, collaborative performance. Improv is a humorous and playful artform built on an open-ended narrative structure which simultaneously celebrates effort and failure. It is thus an ideal test bed for the development and deployment of interactive artificial intelligence (AI)-based conversational agents, or artificial improvisors. This case study introduces an improv show experiment featuring human actors and artificial improvisors. We have previously developed a deep-learning-based artificial improvisor, trained on movie subtitles, that can generate plausible, context-based, lines of dialogue suitable for theatre (Mathewson and Mirowski 2017). In this work, we have employed it to control what a subset of human actors say during an improv performance. We also give human-generated lines to a different subset of performers. All lines are provided to actors with headphones and all performers are wearing headphones. This paper describes a Turing test, or imitation game, taking place in a theatre, with both the audience members and the performers left to guess who is a human and who is a machine. In order to test scientific hypotheses about the perception of humans versus machines we collect anonymous feedback from volunteer performers and audience members. Our results suggest that rehearsal increases proficiency and possibility to control events in the performance. That said, consistency with real world experience is limited by the interface and the mechanisms used to perform the show. We also show that human-generated lines are shorter, more positive, and have less difficult words with more grammar and spelling mistakes than the artificial improvisor generated lines.

[1]  Piotr W. Mirowski,et al.  Improvised Theatre Alongside Artificial Intelligences , 2021, AIIDE.

[2]  Perry R. Cook,et al.  Real-time human interaction with supervised learning algorithms for music composition and performance , 2011 .

[3]  Michael J. Singer,et al.  Measuring Presence in Virtual Environments: A Presence Questionnaire , 1998, Presence.

[4]  Michael Mateas,et al.  An Oz-Centric Review of Interactive Drama and Believable Agents , 1999, Artificial Intelligence Today.

[5]  Philip N. Johnson-Laird,et al.  How Jazz Musicians Improvise , 2002 .

[6]  A. M. Turing,et al.  Computing Machinery and Intelligence , 1950, The Philosophy of Artificial Intelligence.

[7]  Brian Magerko,et al.  An empirical study of cognition and theatrical improvisation , 2009, C&C '09.

[8]  Yawen Guo ImprovChat: An AI-enabled Dialogue Assistant Chatbot for English Language Learners (ELL) , 2018 .

[9]  Ingmar Weber,et al.  Automated Hate Speech Detection and the Problem of Offensive Language , 2017, ICWSM.

[10]  Mark O. Riedl,et al.  Event Representations for Automated Story Generation with Deep Neural Nets , 2017, AAAI.

[11]  Li Zhang,et al.  Affect Detection and an Automated Improvisational AI Actor in E-Drama , 2007, Artifical Intelligence for Human Computing.

[12]  Guy Hoffman,et al.  Interactive improvisation with a robotic marimba player , 2011, Auton. Robots.

[13]  Jason Weston,et al.  Personalizing Dialogue Agents: I have a dog, do you have pets too? , 2018, ACL.

[14]  Percy Liang,et al.  Generating Sentences by Editing Prototypes , 2017, TACL.

[15]  B. Hayes-Roth,et al.  Improvisational Puppets , Actors , and Avatars , 1996 .

[16]  Mark O. Riedl,et al.  Improvisational Computational Storytelling in Open Worlds , 2016, ICIDS.

[17]  Nathan Michael,et al.  Online planning for human–multi-robot interactive theatrical performance , 2018, Autonomous Robots.

[18]  Siddhartha S. Srinivasa,et al.  HERB's Sure Thing: A rapid drama system for rehearsing and performing live robot theater , 2014, 2014 IEEE International Workshop on Advanced Robotics and its Social Impacts.

[19]  Tennessee Williams A Streetcar Named Desire: A Play , 1947 .

[20]  Laurel D. Riek,et al.  Wizard of Oz studies in HRI , 2012, J. Hum. Robot Interact..

[21]  Cynthia Breazeal,et al.  A hybrid control system for puppeteering a live robotic stage actor , 2008, RO-MAN 2008 - The 17th IEEE International Symposium on Robot and Human Interactive Communication.

[22]  Terrence Fong,et al.  Collaboration, Dialogue, Human-Robot Interaction , 2001, ISRR.

[23]  Andrew Stern,et al.  Believable Agents and Intelligent Story Adaptation for Interactive Storytelling , 2006, TIDSE.

[24]  Quoc V. Le,et al.  A Neural Conversational Model , 2015, ArXiv.

[25]  Piotr W. Mirowski,et al.  Improvised Comedy as a Turing Test , 2017, ArXiv.

[26]  Francisco Torreira,et al.  Timing in turn-taking and its implications for processing models of language , 2015, Front. Psychol..

[27]  Brian O'Neill,et al.  A Knowledge-Based Framework for the Collaborative Improvisation of Scene Introductions , 2011, ICIDS.

[28]  A Savvy Robot Standup Comic: Online Learning through Audience Tracking , 2015 .

[29]  Christopher Durang The Actor's Nightmare (1988) , 1988 .

[30]  Cynthia Breazeal,et al.  Interactive robot theatre , 2003, Proceedings 2003 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS 2003) (Cat. No.03CH37453).

[31]  Ken Perlin,et al.  Improv: a system for scripting interactive actors in virtual worlds , 1996, SIGGRAPH.

[32]  Karl F. MacDorman,et al.  The Uncanny Valley [From the Field] , 2012, IEEE Robotics Autom. Mag..

[33]  Quoc V. Le,et al.  Sequence to Sequence Learning with Neural Networks , 2014, NIPS.

[34]  Eric Gilbert,et al.  VADER: A Parsimonious Rule-Based Model for Sentiment Analysis of Social Media Text , 2014, ICWSM.

[35]  Jason Weston,et al.  Retrieve and Refine: Improved Sequence Generation Models For Dialogue , 2018, SCAI@EMNLP.

[36]  K. Johnstone IMPRO: Improvisation and Theatre , 1979 .

[37]  Guy Hoffman,et al.  Computational Human-Robot Interaction , 2016, Found. Trends Robotics.

[38]  Mattias Heldner,et al.  Towards human-like spoken dialogue systems , 2008, Speech Commun..

[39]  Eric Atwell,et al.  Usefulness, localizability, humanness, and language-benefit: additional evaluation criteria for natural language dialogue systems , 2016, Int. J. Speech Technol..

[40]  Stacy Marsella,et al.  THESPIAN: An Architecture for Interactive Pedagogical Drama , 2005, AIED.

[41]  Brian Magerko,et al.  Employing Fuzzy Concept for Digital Improvisational Theatre , 2011, AIIDE.

[42]  Jürgen Schmidhuber,et al.  Long Short-Term Memory , 1997, Neural Computation.

[43]  K. Killian,et al.  Ex Machina , 2015 .