Improvised Theatre Alongside Artificial Intelligences

Mathewson, Kory W.; Mirowski, Piotr

doi:10.1609/aiide.v13i1.12926

Cited by 7 publications

(3 citation statements)

References 23 publications

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“…Works are often used to reproduce verbal and nonverbal interactions (Perkowski et al, 2005). In addition, programmes serve as chatbots or artificial conversation agents, so they can fully participate in real human conversations (Mathewson & Mirowski, 2017;Kashtanov et al, 2021;Mustafin & Kantarbayeva, 2021).…”

Section: Discussionmentioning

confidence: 99%

Speech Techniques as an Important Tool of Verbal Action in the Art of the Actor

Soroka¹,

Gusakova²,

PLUTALOV³

et al. 2022

SMC

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The relevance of the study is conditioned upon the fact that contemporary art undergoes various transformations. Notably, modern theater is aimed at creating a variety of entertainment forms. It depends on the bright scenery, outrageous acting and the availability of experimental performances. Speech techniques as an important tool of verbal action in the art of the actor also acquired a specific, even paradoxical character. The theatrical work becomes quite subjective and individualised, embodies the inner well-being of the artist in the depiction of his emotions, worldview and more. In this regard, the article aims to determine the nature and features of speech techniques in the practice of performing arts. The leading methods of research on this problem are methods of analysis, synthesis, deduction, generalisation and comparison of approaches, which will help determine the main essence of the problem of speech and speech techniques as an important tool of verbal action in the art of the actor. The article presents various approaches to the study and interpretation of the stage word as a socio-cultural phenomenon; the analysis of works of artists, researchers who are engaged in research of this process is carried out; emphasis is placed on psychological difficulties and peculiarities of the organisation of verbal action on the stage; the definition of the essence of the subtext as a category of stage speech is offered; the methods of its embodiment in theatrical practice are substantiated; the specific features of the functioning of intonation in stage works are traced; diagnosed promising methods of developing the technique of stage speech in theatrical activities; the requirements of acting in the context of the development of theater of the 21st century are determined; the process of creating exemplary stage speech is demonstrated; recommendations and main tasks for improving speech techniques as an important tool of verbal action in the art of the actor and component of theatrical art are revealed. The materials of the article are of practical and theoretical value for art critics, actors, directors, culturologists and theater figures, who will be able to improve the forms of work on the word, to develop skills of language and speech culture. In addition, the information may be relevant for students of stage and art, scientists, teachers who will be able to implement certain principles in future theater activities.

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Section: Discussionmentioning

confidence: 99%

Speech Techniques as an Important Tool of Verbal Action in the Art of the Actor

Soroka¹,

Gusakova²,

PLUTALOV³

et al. 2022

SMC

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“…See et al conducted a comparison between the Open AI GPT-2 pre-trained language model to a state-of-the-art large-scale neural story generation model [32]. Pyggy -pre-trained as an interactive chat bot through a basic website-is an artificial agent built to collaborate with humans on improvisational storytelling in front of an audience [27]. Furthermore, Ammanabrolu et al developed a model of event-guided neural networks that converts a sequence of events to sentences of a story [4].…”

Section: Language Generationmentioning

confidence: 99%

CreativeBot: a Creative Storyteller Agent Developed by Leveraging Pre-trained Language Models

Elgarf

Peters

2022

2022 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS)

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In an attempt to nurture children's creativity, we developed a creative conversational agent to be used in a collaborative storytelling context with a child. We presented a novel approach to develop creative AI. Our approach uses the four creativity measures: fluency, flexibility, elaboration and originality in order to generate creative behavior. We analyzed and annotated our previously collected storytelling data sets -collected with children-according to our four creativity measures. We then used the extracted and annotated data (636 statements) in order to fine-tune two pre-trained language models (Open AI GPT-3). The two models were aimed at generating creative versus non-creative behavior in a collaborative storytelling scenario. We developed the two models to be able to assess the results and compare them together. We conducted an evaluation to assess stories generated collaboratively between a human and both agents separately (n = 26). Adult Users rated the creativity of the agent according to the stories generated. Results showed that the creative agent was perceived as significantly more creative than the non-creative agent. With the experiment results confirming the validity of our system, we may therefore proceed with testing the effects of the creative behavior of the agent on children's creativity skills.

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“…similar to a director calling edits). AI models have also been used for putting performers with challenging and novel situations (gut) (Mathewson and Mirowski 2017;. The latter study (Mathewson and Mirowski 2018) collected feedback of a large number of human performers who qualified the AI conversational partner as an "X factor".…”

Section: Playing With Shrdlumentioning

confidence: 99%