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Ana Aguliera and I had a wonderful Podcast conversation this morning with playwright, actor, musician and teacher, Jack Canfora. (Podcast coming out soon). Our conversation lead to AI and how it would affect playwriting.
We collectively decided for the world that theatre was not dead with the onslaught of AI. In fact, nothing can replace the human connection theatre provides. But how can it help us? How will it affect Playwriting? Well who better to ask than AI itself…. Here is a computer generated response on the pros and cons of AI and playwriting, with my commentary…….
Artificial Intelligence (AI) has been revolutionizing several industries, including the arts. Playwriting is one such area where AI can be a useful tool for playwrights to improve their craft. In this article, we will discuss the pros and cons of AI for playwrights.
(A) AI has very formulaic introductions to a topic. It is not very creative yet with it’s introductions and conclusions. Feels a little like Year 9 English class level introductions to me….
Pros of AI for Playwrights:
Idea Generation: AI can generate new and fresh ideas for playwrights to work on. By analyzing data from various sources, AI can suggest themes, plots, and characters for playwrights to consider.
(A) Fast tracking information is a useful use of AI. If you want to summarize movie plots, books etc, playwrights might save themselves some research time. I think of AI as a more direct Google. I am not a playwright myself but I did go to ChatGPT yesterday to ask for google sheet formula, and I was able to describe how I wanted the cells to reference each other and it gave me the formula to do that… Previously that would have taken me a 20 minute search on Google to get to the right answer. It’s a time saver.. if anything, start there with your use of AI.
Improved Character Development: AI can analyze large amounts of data and create complex characters with unique traits and backstories. This can help playwrights create more dynamic and well-rounded characters.
(A) This would be an interesting thing to try out to add some depth to a character. Throw a handful of questions in to ChatGPT and see what comes out. In a good way, it can stem some ideas while leaving the actual writing, dialogue and manifestation of the character in the script to the playwright.
Dialogue Enhancement: AI can also analyze language patterns and suggest improvements to dialogue. Playwrights can use this feedback to refine their scripts and make them more engaging for audiences.
(A) I’m a little doubtful on this facet yet. The beauty of a playwright is how the words are uniquely strung together and how they might interact unconventionally with the dialogue of another character. Sometimes that is nuanced with action or gestures onstage. You certainly do not want formulaic dialogue in a play, where’s the magic in that? What I would love to see is AI read all the Shakespeare plays and then have AI write one. Let’s analyse those results and see where we are really at with AI generated dialogue.
Time-saving: AI can help playwrights save time by automating mundane tasks such as formatting, editing, and proofreading. This allows playwrights to focus on more creative aspects of their work, such as character development and plot.
(A) Yes and yes… let it do the functional stuff so playwrights can focus on the art.
Cons of AI for Playwrights:
Lack of Creativity: While AI can generate ideas and provide feedback, it may lack the creative spark that makes a great play. Playwriting is an art form that requires creativity and human intuition, which AI may not be able to replicate.
(A) Wonderful that this is acknowledged by AI itself.
Overreliance on Technology: AI can be a useful tool, but playwrights should not rely on it entirely. Overdependence on technology can stifle creativity and limit the potential of a play.
(A) Getting an autogenerated script that you need to edit to be original may be more time consuming than if you wrote it from scratch yourself. You also want the writing to be “your” voice, so might need to spend some considerable time adapting it to get it to “feel” like you.
Bias: AI is only as objective as the data it is trained on. If the data contains biases, the AI’s suggestions may also be biased. This can be especially problematic for plays that deal with sensitive or controversial topics.
(A) Oooohhhh this is interesting. Where is AI getting its sources from? How do we know that the data it is pushing out is correct? In what spaces is it learning? Tread carefully……
Lack of Human Connection: Playwriting is about creating a human connection with the audience. AI-generated plays may lack the emotional depth and nuance that only a human playwright can provide.
(A) Agree with you AI. Plays are intended to be performed in front of an audience. Only a human playwright (I love this, a human playwright) can create the nuances for it’s intended expression. As we theatre makers know, the script is only one part of a theatrical execution. AI cannot replace the moment in creation when the lighting designer, director and actor work together create a moment onstage. The way the director shares his thoughts on the dialogue delivery, the stance the actor takes and the way the lighting designer lights the moment. That is when a playwright’s work comes to life…and only a HUMAN playwright can supply the foundation for that moment to happen.
In conclusion, AI can be a useful tool for playwrights to improve their craft, but it is not a replacement for human creativity and intuition. Playwrights should use AI to enhance their work, but not rely on it entirely. Additionally, playwrights should be aware of the potential biases in AI-generated content and strive to create a human connection with their audiences. Overall, the integration of AI into the playwriting process has the potential to revolutionize the industry, but it must be used responsibly and in conjunction with human creativity.
I actually really like this conclusion.. Well done ChatGPT…no further comments.
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Anna Robb is Co-Founder and Managing Director for TheatreArtLife. Anna is an experienced Producer/Production Stage Manager. Her 20-year work history spans Asia Pacific, the Americas, Africa, the Middle East and Europe. She has worked for companies such as Cirque du Soleil, Franco Dragone Entertainment Group, Christie Digital Systems and The Sydney Opera House. Anna was an integral part of the research and development, training and formation, creation and operation of the 250 million dollar aquatic show, The House of Dancing Water in Macau. She also maintained the daily operations of this complex show as the head of Stage Management for 7 years. Anna has been employed on over 70 shows in the areas of concerts, arena events, corporate events, trade shows, musical theatre, plays, dance, circus, outdoor festivals and mega shows. Anna holds a honours degree in Design for Theatre and Television and is passionate about the evolution of the industry.
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