By Mahmoud Kamel
Theatre has always been connected with the development of society and technology. From the earliest stage performances to modern theatres with advanced lighting, sound, and visual effects, technology has helped artists present stories in new ways.
However, every new development has raised an important question: does technology help artists express their ideas, or can it take over some of the work traditionally done by human beings?
Different cultures, different experiences
An important aspect of Pike’s book is its discussion of examples from different parts of the world. These include Australia’s Alex: A Play with Holograms, the work of the Belgian group CREW, and artistic developments in Southeast Asia.
The book also refers to Tamil-language theatre, The Doodle People, AGAM Theatre Lab, and the work of Singaporean artist Ho Tzu Nyen.
These examples show that the relationship between technology and theatre is not limited to one country or culture.
The use of technology depends on many factors, including language, artistic traditions, available resources, and audience expectations. A method that works well in one country may need changes before it can be used successfully in another.
This is especially important when AI is used to produce texts, images, or other cultural material. AI systems may repeat stereotypes found in the information used to train them. Their results are not always culturally accurate or neutral.
For example, an AI-generated image may present a culture through common stereotypes instead of showing its real diversity.
An AI-generated text may misunderstand a cultural reference or fail to recognise the meaning of a particular expression.
In theatre, such mistakes may lead to an unfair or inaccurate presentation of people and communities.
Human supervision is, therefore, necessary. Artists and researchers must examine the material produced by AI and make sure
that it is accurate, suitable, and respectful of the people it represents.
Making theatre accessible to everyone
Technology also raises an important question: who can benefit from new theatrical experiences?
Advanced equipment can create new opportunities, but it can also make participation more difficult for some people.
The cost of equipment, the need for technical support, and the physical requirements of some systems may limit access.
Pike points out that some VR and AR equipment may be designed mainly around the needs of able-bodied men. This can create difficulties for people whose physical needs are different from those expected by the designers.
This reminds us that technological progress should not be judged only by how advanced the equipment is. We should also ask whether different people can use it and benefit from it.
There is also an economic problem. Not every theatre can afford expensive equipment or employ specialised technical staff.
If advanced technology becomes necessary to attract audiences or obtain funding, smaller theatres may find it difficult to compete.
It is important, therefore, to make new technologies more accessible. At the same time, we should remember that excellent theatre can still be produced with simple equipment and limited resources.
Why human presence still matters
Despite the many possibilities offered by technology, the human element remains at the centre of theatre. A live performance is not simply a combination of images, sounds, and movements. It is an experience shared by people at a particular moment.
Actors may respond to the atmosphere of the audience, and the audience may react differently from one performance to another.
Even when everything has been carefully prepared, a live performance always contains an element of uncertainty. This is part of what makes theatre special.
Technology may reproduce some aspects of a performance, but the physical presence of an actor has its own value. The audience knows that the actor is there, sharing the same space and participating in the same event.
This does not mean that artists should reject technology to protect traditional theatre. Instead, they should decide what they want to preserve and what they want to change. New tools are useful when they support the artistic vision. They may become a problem when they are used simply because they are new.
The same applies to AI-generated scripts and images. The question is not only whether a computer can produce an acceptable
result. We should also ask whether this result contributes to a meaningful artistic experience and whether the human artist remains responsible for the final work.
Looking beyond the western world
Pike also recognises some limitations in the examples discussed in his book, including the absence of cases from Africa and South America. This is an important point because discussions of technology in theatre may focus too much on Western countries and institutions.
The absence of examples from a particular region does not mean that the region has nothing to contribute. It may mean that more
research is needed. Theatre artists in different parts of the world may use technology in ways that reflect their own needs, resources, and cultural traditions.
For Egypt and the Arab world, this situation offers an opportunity for artists and researchers to explore how AI, AR, and VR
can work with local theatre traditions and contemporary performances. The aim should not be simply to copy experiments from other countries. We need to examine how these technologies can serve our languages, histories, and audiences.
Arabic theatre has a rich history of dealing with social issues, cultural identity, and changes in society. New technologies may provide additional ways to present these subjects, but their use should begin with a clear understanding of the artistic work itself.
Co-operation between theatre artists, translators, researchers, and technical specialists is also important.
Translation plays a major role when performances and research are shared between different languages and cultures. The task of the translator is not only to transfer words from one language into another, but also to communicate the cultural and artistic meaning of the work.
A future based on co-operation
Theatre will probably make greater use of AI, AR, and VR in the coming years. These technologies may change how performances are prepared, presented, and experienced. They may also encourage new forms of co-operation between writers, actors, designers, programmers, and researchers.
However, the future should not be seen as a competition between technology and human creativity. The more important question is how they can work together. Technology can offer tools, suggest possibilities, and help with technical tasks. Human beings must continue to provide artistic judgement, cultural understanding, and a sense of responsibility.
Educational institutions also have an important role. Students of theatre and the creative arts should learn about new technologies without neglecting the basic principles of their disciplines. They need to understand both the advantages and the limitations of these tools. Practical training should be combined with discussions about authorship, cultural representation, accessibility, and ethics.
Theatre institutions should also experiment according to their artistic aims and available resources. Not every performance needs VR, and not every dramatic problem can be solved through AI. Sometimes, a strong script, a convincing actor, and a simple stage are still the best ways to communicate an idea.
Shane Pike’s book provides a useful starting point for this discussion. Its examples show how technology is already influencing live performance in different parts of the world. At the same time, its attention to cultural and practical challenges reminds us that every new development needs careful consideration.
In the end, the value of technology in theatre should not be measured by how new or advanced it is. It should be measured by
what it helps artists communicate and what it allows audiences to experience.
If AI, AR, and VR can help theatre discover new forms of expression while keeping its human purpose, they can make a valuable contribution to its future. The future of theatre does not depend on choosing between human creativity and technological progress. It depends on making technology serve creativity.
Machines may provide new tools, but human beings must decide which stories should be told, whose experiences should be represented, and what these stories can mean in our lives.
Dr Mahmoud Kamel
Professor at the Academy of Arts
