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From their timid, tentative first meeting, to the spark of mutual attraction, to the blooming of a deep friendship, Taiwanese choreographer Huang Yi and his robot partner KUKA played out a unique, emotional and somewhat erratic dance between a human and an authentic machine at Beijing’s 77 Theatre on April 18, 2015. The audience watched Huang’s character grow old and eventually pass away, leaving the young, vital KUKA alone on the stage.
The performance, a piece of “model scientific art” according to Huang Yi, was sponsored by Taiwanese science and technology-focused art initiative the Quanta Arts Foundation（QAF）.
In a nod perhaps to the esthetic of modern science, the set design was somewhat minimal： two moving spotlights, two chairs and a metronome, with accompanying classical music adding a touch of humanity.
Given the rarity of such a performance on the mainland, the audience, mostly theater regulars and art industry insiders, found the piece refreshing and impressive. While many were impressed at the interplay between Huang and KUKA, the majority were even more surprised to learn that KUKA’s movements were programmed entirely by Huang himself.
A Robot Dream
For many of Huang’s generation, owning a robot was a childhood fantasy. Born in 1983, as a child, Huang, like many of his peers, was obsessed with Doraemon, the popular Japanese cartoon robot cat. Later on in life, Huang taught himself various disciplines relating to computer technology, including animation design, primarily to create advertising campaigns for his parents’ dance workshop.
Probably inheriting the talent from his parents, Huang started to dance at 10 and was a fully-fledged choreographer by the age of 19. His teacher, Lo Man-fei, one of Taiwan’s most famous modern dancers, recommended him to Lin Hwai-min, founder of Taiwan’s Cloud Gate Dance Theatre（CGDT）. At 25, Huang Yi became a choreographer with CGDT’s second string troupe.
Gifted and diligent, Huang soon earned recognition from his peers for his abilities as a dancer and choreographer. His works, such as The Floating Room and SPIN 2010, received broadly favorable reviews. In 2011, recommended by dancer Sheu Fang-yi, Huang was named in US publication Dance Magazine’s “25 to Watch” list.
In 2010, when Huang opened his own dance studio, he found himself ruminating on his childhood dream of having a “robot friend.” He decided he wanted an industrial robot, which he saw as a reflection of himself, “a tool to somebody, some unit and some nation,” just like himself, he told NewsChina. He imagined himself and his reflection dancing together, reaching out, feeling, attacking, embracing and consoling each other – the possibilities were infinite.
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