Robotics plays and increasingly relevant role in contemporary Japan and in the last decades has found its place, in a natural fashion, in social and working environments. Experimentation in the robotic field, in truth, gathers different countries and social initiatives worldwide that find in this field of study a prolific area on constant mutation. Through the analysis of the Robot-Human Theatre Project, born from the collaboration between the playwright and theatrical director Hirata Oriza, and robotics engineer Ishiguro Hiroshi, the research here proposed aims to outline the peculiar characteristics of Japanese robotics and the impact of its incessant development on a social and anthropological level. The focus point of the book is the analysis of the project's five performances that includes flesh and blood actors together with androids. I, worker (2008), In the heart of the forest (2010), Sayonara (2010/2012), Three sisters android version (2012) and La Métamorphose version androïde (2014), other than illustrating one of the aspects of the marriage between art and technology, have allowed for a deep understanding of the current Japanese society. Following these performances has given the necessary for, on one side, deepening into Hirata Oriza's theatrical language, and on the other side, through the topics evoked by the author, facing some of the most urgent matters of the Japanese world, such as the Fukushima accident on 2011, the hikikomori social case and the relationship between humans and robots. The research is structured on a transversal methodology that takes account of historical, anthropological and social aspects of the issue under consideration and makes use of unedited documents found during the on-site research in Japan, carried out in close contact with Seinendan Theatre Company founded in 1983 and currently directed by Hirata Oriza.
La robotica riveste nella contemporaneità giapponese un ruolo sempre più significativo e negli ultimi decenni si è inserita in maniera quasi naturale in ambiti sociali e lavorativi. La sperimentazione in campo robotico accomuna, in realtà, paesi e società in tutto il mondo che trovano in questo ambito un terreno di ricerca fertile e in continuo mutamento. Lo studio proposto, attraverso l’analisi del Robot-Human Theatre Project, nato dalla collaborazione tra il drammaturgo e regista teatrale Hirata Oriza e l’ingegnere robotico Ishiguro Hiroshi, cerca di delineare i tratti distintivi della robotica giapponese e delle ricadute a livello sociale e antropologico del suo costante e inarrestabile sviluppo. Focus della ricerca è l’analisi teatrologica dei cinque spettacoli nati in seno al progetto e che vedono in scena attori in carne ed ossa e robot umanoidi e androidi. I, worker (2008), In the heart of the forest (2010), Sayonara (2010/2012), Three sisters android version (2012) e La Métamorphose version androïde (2014), oltre a rappresentare uno dei molteplici volti del connubio tra arte e tecnologia, hanno permesso di compiere un affondo nell’odierna società nipponica. Guardare a queste performance ha consentito, da un lato, di indagare il linguaggio teatrale di Hirata Oriza e, dall’altro, tramite le tematiche messe in gioco dal regista, di affrontare alcune tra le questioni più urgenti della contemporaneità giapponese: la rielaborazione della tragedia di Fukushima del 2011, gli hikikomori e la relazione uomo-macchina. Lo studio, strutturatosi su una metodologia trasversale che non ha trascurato gli aspetti storiografici, antropologici e sociali del tema in oggetto, si avvale di materiali inediti reperiti durante la ricerca di campo svolta in Giappone a stretto contatto con la Seinendan Theatre Company, fondata nel 1983 e, ancora oggi, guidata da Hirata.
Toscano Cinzia (2019). Il teatro dei robot.La meccanica delle emozioni nel Robot-Human Theatre di Hirata Oriza. Bologna : Clueb.
Il teatro dei robot.La meccanica delle emozioni nel Robot-Human Theatre di Hirata Oriza
Toscano Cinzia
2019
Abstract
Robotics plays and increasingly relevant role in contemporary Japan and in the last decades has found its place, in a natural fashion, in social and working environments. Experimentation in the robotic field, in truth, gathers different countries and social initiatives worldwide that find in this field of study a prolific area on constant mutation. Through the analysis of the Robot-Human Theatre Project, born from the collaboration between the playwright and theatrical director Hirata Oriza, and robotics engineer Ishiguro Hiroshi, the research here proposed aims to outline the peculiar characteristics of Japanese robotics and the impact of its incessant development on a social and anthropological level. The focus point of the book is the analysis of the project's five performances that includes flesh and blood actors together with androids. I, worker (2008), In the heart of the forest (2010), Sayonara (2010/2012), Three sisters android version (2012) and La Métamorphose version androïde (2014), other than illustrating one of the aspects of the marriage between art and technology, have allowed for a deep understanding of the current Japanese society. Following these performances has given the necessary for, on one side, deepening into Hirata Oriza's theatrical language, and on the other side, through the topics evoked by the author, facing some of the most urgent matters of the Japanese world, such as the Fukushima accident on 2011, the hikikomori social case and the relationship between humans and robots. The research is structured on a transversal methodology that takes account of historical, anthropological and social aspects of the issue under consideration and makes use of unedited documents found during the on-site research in Japan, carried out in close contact with Seinendan Theatre Company founded in 1983 and currently directed by Hirata Oriza.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
