ماريان طوني صلماني *
Artificial Intelligence and the Future of Theatrical Performance:
A Study of the Aesthetic and Creative Transformations of the Theatrical Process
Marianne Tony Salamany *
المستخلص
يهدف هذا البحث إلى دراسة أثر الذكاء الاصطناعي في مستقبل العرض المسرحي، من خلال تحليل التحولات الجمالية والإبداعية التي أحدثها في عناصر العرض المختلفة، ولا سيما الكتابة المسرحية، والإخراج، والسينوغرافيا، والأداء، والعلاقة مع الجمهور.
يعتمد البحث المنهج الوصفي التحليلي، مستندًا إلى الأدبيات الحديثة في مجالي المسرح والذكاء الاصطناعي، مع الاستفادة من الدراسات المعاصرة التي تناولت تطبيقات الذكاء الاصطناعي في الفنون الأدائية، ويقترح البحث إطارًا نظريًّا يفسّر التحولات التي أحدثها الذكاء الاصطناعي في العملية الإبداعية المسرحية، انطلاقًا من مفهوم "جماليات الاحتمال"، الذي يقوم على انتقال الممارسة الإبداعية من إنتاج حلّ فني واحد إلى إدارة عدد كبير من البدائل والاحتمالات الإبداعية قبل الوصول إلى القرار الجمالي النهائي.
أما أبرز نتائج البحث فهي أن الذكاء الاصطناعي لا يمثّل بديلًا من الفنان أو المخرج المسرحي، بل يعمل بوصفه وسيطًا إبداعيًّا يوسّع إمكانات التفكير والتجريب، في حين يبقى إنتاج المعنى، واتخاذ القرار الجمالي، وتحقيق التواصل الحي مع الجمهور، مسؤوليات إنسانية لا يمكن نقلها إلى الأنظمة الذكية؛ وأن مستقبل المسرح لا يرتبط بقدرة الذكاء الاصطناعي على إنتاج الصور أو النصوص، إنما بقدرته على إعادة تشكيل آليات التفكير والإبداع داخل العملية المسرحية.
الكلمات المفتاحية:
الذكاء الاصطناعي؛ العرض المسرحي؛ الإخراج؛ السينوغرافيا؛ الجماليات.
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Abstract:
In recent years, artificial intelligence (AI) applications have experienced unprecedented development, extending beyond technical fields into various creative arts, including theatre. This rapid advancement has raised new questions regarding the nature of the creative process, the boundaries of the relationship between humans and machines, and the potential of AI to contribute to theatrical production. This study examines the impact of artificial intelligence on the future of theatrical performance by analyzing the aesthetic and creative transformations it has introduced across the different components of theatre, particularly playwriting, directing, scenography, performance, and the relationship between performers and audiences.
The study adopts a descriptive-analytical approach, drawing upon recent literature in both theatre studies and artificial intelligence, while incorporating contemporary research on AI applications in the performing arts. It also proposes a theoretical framework to explain the transformations AI has brought to the theatrical creative process through the concept of the “Aesthetics of Possibility.” This concept describes a shift in creative practice from producing a single artistic solution toward managing multiple creative alternatives and possibilities before arriving at the final aesthetic decision.
The findings indicate that artificial intelligence does not replace the artist or theatre director; rather, it functions as a creative mediator that expands the possibilities for thinking and experimentation. However, the creation of meaning, the making of aesthetic judgments, and the realization of live interaction with audiences remain fundamentally human responsibilities that cannot be transferred to intelligent systems. The study further concludes that the future of theatre depends not merely on AI’s ability to generate images or texts, but on its capacity to reshape the mechanisms of creative thinking and artistic practice within the theatrical process.
Keywords:
Artificial Intelligence; Theatrical Performance; Theatre Directing, Scenography; Aesthetics
***
* باحثة لبنانية. تعدّ أطروحة دكتوراه في المسرح في المعهد العالي للدكتوراه – الجامعة اللبنانية، بعنوان: "المسرح المعاصر في لبنان 1990-2020: التباينات والتقاطعات في النصوص والعروض والعلاقة مع الجمهور"، بإشراف الأستاذ الدكتور هشام زين الدين.
* Marianne Tony Salamany is a Lebanese researcher and PhD candidate in Theatre at the Doctoral School of the Lebanese University. She is currently preparing her doctoral dissertation, entitled: “Contemporary Theatre in Lebanon (1990–2020): Convergences and Divergences in Texts, Performances, and the Relationship with the Audience”, under the supervision of Professor Hisham Zein El-Din.
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الحداثة (Al Hadatha)
صيف 2026 SUMMER
العدد: 240 ISSUE
مجلد: 33 .Vol
ISSN: 2790-1785
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