As a new show co-created by an AI performer opens in France, industry leaders including Wayne McGregor, Tamara Rojo and Jonzi D contemplate the technology’s possibilities and perils ‘I think AI’s going to change everything,” Tamara Rojo, artistic director of San Francisco Ballet, told me earlier this year. “We just don’t know quite how.” The impact of artificial intelligence on the creative industries can already be seen across film, television and music, but to some extent dance seems insulated, as a form that so much relies on live bodies performing in front of an audience. But this week choreographers Aoi Nakamura and Esteban Lecoq, collectively known as AΦE, are launching what is billed as the world’s first AI-driven dance production, Lilith.Aeon. Lilith, the performer, is an AI entity, who has co-created the work, with Nakamura and Lecoq. “She” will appear on an LED cube that the audience move around, their motion triggering Lilith’s dance. Nakamura and Lecoq insist they’re interested not in chasing the latest technology for its own sake but in enhancing their storytelling. Working as dancers with theatre company Punchdrunk turned them on to the idea of immersive experiences, which led to virtual reality (VR), augmented reality (AR) and now AI. Their question is always: “How can we make this tech come alive?” But not in a robots-taking-over-the-world way. Continue reading...

As debate rages around the ethics and legalities of artificial intelligence, artists are exploring the technology’s possibilities – and its precarities Cate Blanchett – beloved thespian, film star and refugee advocate – is standing at a lectern, addressing the European Union parliament. “The future is now,” she says, authoritatively. So far, so normal, until: “But where the fuck are the sex robots?” The footage is from a 2023 address that Blanchett actually gave – but the rest has been made up. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Continue reading...

This month’s picks include a Starlight Express intro for kids, a rollicking wedding play at the National and an explosive hour of dance Micheál Mac Liammóir’s 1960 solo show interweaved the private and public lives of Oscar Wilde with excerpts from the great Irish wit’s oeuvre. Alastair Whatley – who directed The Importance of Being Earnest a few years ago – recently performed Mac Liammóir’s monologue at Reading Rep. A recording of that production, directed by Michael Fentiman, is available on Original Online from 1 July. Continue reading...