标题: 安妮-多森 戏剧艺术家 [打印本页] 作者: shiyi18 时间: 2022-2-24 03:35 标题: 安妮-多森 戏剧艺术家 Annie Dorsen
Theater Artist | Class of 2019
Pioneering a new genre of theater that dramatizes the ways in which nonhuman intelligence is profoundly changing the nature of work, culture, and social relationships.
Portrait of Annie Dorsen
Title
Theater Artist
Location
Brooklyn, New York
Age
45 at time of award
Area of Focus
Theatrical Arts
Website
anniedorsen.com
University of Chicago: Annie Dorsen
Social
Twitter
Published September 25, 2019
ABOUT ANNIE'S WORK
Annie Dorsen is a theater director and writer producing works that dramatize the complex interface between machines and humans. Dorsen creates what she calls “algorithmic theater,” in which algorithmically determined texts are generated in real time for each performance of a piece.
Hello Hi There (2010) consists of two custom-programmed chatbots having a conversation using text culled from the transcript of the 1971 debate between Noam Chomsky and Michel Foucault about human nature, comments from YouTube videos of the debate, and excerpts from other philosophical writings. As the chatbots’ conversation unfolds live (in both print, on large screens, and orally through computer-generated voices), the question of whether human nature is innate or shaped by external influences is recontextualized within a framework of nonhuman intelligence. Dorsen further interrogates the ubiquity of algorithms—and the implicit biases they enact—in two works that pair algorithm-generated scripts together with human performers. In A Piece of Work (2013), the text of Hamlet is run through a series of algorithms, and Hamlet’s struggles to understand the human psyche find expression in the performer’s task of embodying the character as he recites a soliloquy created on the spot by the computer. The three performers of Yesterday Tomorrow (2015) sight-sing music produced as a computer program gradually transforms the score of the Beatles’ song “Yesterday” into that of “Tomorrow” from the musical Annie. Over the course of an hour, the singers endeavor to keep up with the minute and continuous changes in the music. Their obvious effort and concentration make visible the heedless and tightly scripted pathways of machine intelligence, which increasingly plays a role in many of our daily experiences.
Dorsen has shifted her focus to the nature of social interaction in the digital world in recent pieces such as The Great Outdoors (2017), in which the incalculable corpus of the internet is juxtaposed with the vastness of our universe. Audience members lie in an inflatable planetarium and watch a display of stars overhead while a performer reads text—sometimes banal, sometimes deeply personal—scraped from chatrooms, comment threads, and message boards across the internet. Dorsen’s investigations of the creative possibilities engendered by the rise of artificial intelligence are challenging the definition of a theatrical event while also encouraging audiences to contemplate the ways in which nonhuman intelligence is profoundly changing the nature of work, culture, and social relationships.
BIOGRAPHY
Annie Dorsen received a BA (1996) and an MFA (2000) from Yale University. Her additional works include Infinite Sun (2019), The Slow Room (2018), and Spokaoke (2012), and she was the co-creator and director of Passing Strange (2008). Her work has been performed at such national and international venues as Performance Space New York (formerly PS 122), the Brooklyn Academy of Music, On the Boards, the Museum of Contemporary Art, Chicago, the National Theatre of Scotland, and Théâtre de la Cité in Paris, among others. Since 2017, Dorsen has served as a visiting assistant professor of practice with the Committee on Theatre and Performance Studies at the University of Chicago.
Hello Hi There (2010)由两个自定义编程的聊天机器人组成，使用从1971年Noam Chomsky和Michel Foucault关于人性的辩论记录中摘录的文本、YouTube辩论视频中的评论以及其他哲学著作的摘录进行对话。随着聊天机器人的对话在现场展开（在印刷品、大屏幕上，以及通过计算机生成的声音口述），人性是天生的还是由外部影响形成的问题在非人类智能的框架内被重新诠释。多森在两部将算法生成的脚本与人类表演者配对的作品中，进一步审视了算法的普遍性以及它们颁布的隐性偏见。在《一件作品》（2013年）中，《哈姆雷特》的文本通过一系列的算法运行，哈姆雷特在理解人类心理方面的挣扎在表演者体现这个角色的任务中得到了体现，他背诵了计算机在现场创造的独白诗。昨天明天》（2015年）的三位表演者在电脑程序中视唱音乐，将披头士乐队的歌曲《昨天》的乐谱逐渐转变为音乐剧《安妮》中的《明天》。在一个小时的过程中，歌手们努力跟上音乐中微小而连续的变化。他们明显的努力和专注使人看到机器智能的无视和严格的脚本路径，它在我们的许多日常经验中日益发挥作用。
个人简历
安妮-多森在耶鲁大学获得学士（1996年）和艺术硕士（2000年）。她的其他作品包括《无限的太阳》（2019年）、《缓慢的房间》（2018年）和《斯波卡克》（2012年），她是《传递陌生》（2008年）的共同创造者和导演。她的作品曾在纽约表演空间（原PS122）、布鲁克林音乐学院、On the Boards、芝加哥当代艺术博物馆、苏格兰国家剧院和巴黎城市剧院等国内和国际场所演出。自2017年以来，多森在芝加哥大学戏剧和表演研究委员会担任实践方面的访问助理教授。
