Uncanny Valley
(c) Gabriela Neeb
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.
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Uncanny Valley
(c) Gabriela Neeb
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.
Download >
Uncanny Valley
(c) Gabriela Neeb
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.
Download >
Uncanny Valley
Uncanny Valley
© Gabriela Neeb (bei Veröffentlichungen, die außerhalb von Berichterstattungen in der Presse liegen, nehmen sie bitte Kontakt auf. lauck@rimini-protokoll.de)
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.
Download >
Uncanny Valley
Uncanny Valley
© Gabriela Neeb (bei Veröffentlichungen, die außerhalb von Berichterstattungen in der Presse liegen, nehmen sie bitte Kontakt auf. lauck@rimini-protokoll.de)
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.
Download >
Uncanny Valley
Uncanny Valley
© Gabriela Neeb (bei Veröffentlichungen, die außerhalb von Berichterstattungen in der Presse liegen, nehmen sie bitte Kontakt auf. lauck@rimini-protokoll.de)
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.
Download >
Uncanny Valley
Uncanny valley
© Gabriela Neeb (bei Veröffentlichungen, die außerhalb von Berichterstattungen in der Presse liegen, nehmen sie bitte Kontakt auf. lauck@rimini-protokoll.de)
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.
Download >
Uncanny Valley
© Rimini Protokoll
The use of the photo is free of charge.
Uncanny Valley
Uncanny Valley
©Dorothea Tuch
The use of the photo is free of charge.
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Uncanny Valley
Uncanny Valley
©Dorothea Tuch
The use of the photo is free of charge.
Download >
Uncanny Valley
Uncanny Valley
©Rimini Protokoll
The use of the photo is free of charge.
Download >
Uncanny Valley
© Rimini Protokoll
The use of the photo is free of charge.
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Uncanny Valley
© Chriscreatures
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Uncanny Valley
By Stefan Kaegi
We mostly think of robots as work machines, as efficient and precise executors of tasks. In German industry, they barely look like people, to avoid emotional complications. Unlike in Asia, where humanoid robots have already been developed for some time, for example for care-work or as sex partners. The external similarity to human beings makes the acceptance of machines easier. However, if the machine is too similar to a human, we begin to feel mistrust: what is human, what is machine? Japanese robotics researchers call this weird similarity the “uncanny valley”.
For his play, Stefan Kaegi works with a writer and playwright for the first time: Thomas Melle allowed an animatronic double of himself to be made. This humanoid takes the author’s place and throws up questions: what does it mean for the original when the copy takes over? Does the original get to know himself better through his electronic double? Do the copy and his original compete or do they help each other?
Concept, Text & Direction: Stefan Kaegi
Equipment: Evi Bauer
Animatronic: Chiscreatures Filmeffects GmbH
Video Design: Mikko Gaestel
Musik: Nicolas Neecke
This play from Rimini Protokoll has originally been produced by the Münchner Kammerspiele, in coproduction with Berliner Festspiele - Immersion, donaufestival (Krems), Feodor Elutine (Moscow), FOG Triennale Milano Performing Arts (Milano), Temporada Alta - Festival de Tador de Catalunya (Girona), SPRING Utrecht
Performing rights: Rowohlt Theater Verlag, Reinbek bei Hamburg
French version in coproduction with the Théâtre Vidy-Lausanne, le lieu unique – Centre de Culture contemporaine de Nantes, Centre culturel suisse à Paris , la Villette, Les 2 Scènes, Scène nationale de Besançon within the framework of Lab e23
Uncanny Valley (german)
Uncanny Valley
Uncanny Valley (german)
Uncanny Valley (english)
Uncanny Valley
Uncanny Valley (english)
Interview with Stefan Kaegi and Thomas Melle in Moscow
Uncanny Valley
Interview with Stefan Kaegi and Thomas Melle in Moscow
“Philosophical exercise from a robot performer ”
Natasha Tripney
25.02.2022 / The Stage
Review: Uncanny Valley (Battersea Arts Centre)
Theo Moore
24.02.2022 / the-crumb.com
Uncanny Valley, Battersea Arts Centre
Mary Pollard
24.02.2022 / everything-theatre.co.uk
Uncanny Valley: the moving one-man play – starring an animatronic robot
Natasha Tripney
21.02.2022 / The Guardian
Sledge-Hammer
Eva-Elisabeth Fischer
17.10.2018 / www.sueddeutsche-zeitung.de
Perturbante quotidiano
Ilaria Mancia
07.09.2024 / OPERAVIVA
Var går gränsen mellan människa och maskin?
Cecilia Djurberg
29.04.2023 / Aftonbladet
Applaus für den Automaten
Regula Fuchs
17.05.2021
Quand les frontières entre l’original et la copie se brouillent
Izabella Pluta
01.05.2020 / http://theatreinprogress.ch/
«La Vallée de l’étrange», Salades d’automate
03.02.2020 / www.liberation.fr
Un robot à la place d’un acteur
JUDITH MARCHAL
30.09.2019 / www.lecourrier.ch
Le robot et son double
Natacha Rossel
27.09.2019 / www.24heures.ch
Internationales Sommerfestival 2019 auf Kampnagel zu Ende. Ein letzter Blick und das Rimini Protokoll
Isabelle Hofmann
28.08.2019 / www.kultur-port.de
Hochzeit von Mensch und Maschine
Hendrik Werner
22.08.2019 / www.weser-kurier.de
Kampnagel: Roboter statt Schauspieler
Lennart Herberhold
19.08.2019 / ndr.de
So großartig war „Uncanny Valley“ von Rimini Protokoll
Karim Saab
08.03.2019 / maz-online.de
„Ich hatte noch nie so viel Angst um einen Darsteller“
Martin Böttcher
20.10.2018 / deutschlandfunkkultur.de
Vorschlag-Hammer
Von Menschen und Automaten
Kolumne von Eva-Elisabeth Fischer
17.10.2018 / sueddeutsche-zeitung
Alles wackelt
Michael Skasa
11.10.2018 / Die Zeit
Der Roboter als Mensch
07.10.2018 / donaukurier.de
Ich, Thomas
Christiane Lutz
05.10.2018 / sueddeutsche.de
Angst durch Nähe
Alex Rühle
07.09.2018 / sueddeutsche.de
Teatronika_02
Martí Sánchez-Fibla & Beatriz Liebe Masferrer
06.05.2019 / Teatronika_02
Die Vereinsamung des Originals
Leonhard Hieronymi
01.06.2020 / Das Wetter
Não atores e os sistemas: entrevista com Stefan Kaegi.
Giórgio Zimann Gislon
27.08.2019 / https://periodicos.sbu.unicamp.br/ojs/index.php/conce/article/view/8656402/21888
Robokalypse now
JENS THOMAS
04.05.2019 / www.creative-city-berlin.de
Interview mit Thomas Melle
„Der Roboter kriegt einfach nicht genug“
Doris Meierhenrich
03.03.2019 / berliner-zeitung.de
»Manche Zuschauer haben auch geweint«
Tom Mustroph
02.03.2019 / zitty.de
»Manche Zuschauer haben auch geweint«
Tom Mustroph
zitty.de