Autoplay brings Africa’s first AI-generated opera to the Baxter Theatre
In a groundbreaking endeavour set to transform the landscape of performance art, Africa’s first AI-generated opera, titled autoplay, will take centre stage at the Flipside in Baxter Theatre from 26 to 29 March 2025.
Developed by the renowned choreographer and director Louise Coetzer, this audacious production melds choreography, generative soundscapes, and machine learning, challenging the conventional norms of theatre. Autoplay is more than just a performance; it is a thought-provoking examination of identity, autonomy, and the digital realms intrinsic to contemporary life. Presented by the acclaimed Darkroom Contemporary, which is celebrating its 15th anniversary this year, the opera promises to be an immersive experience, combining elements of dance theatre, live art, and polyrhythmic opera.
The opera invites audiences to reflect on the nuanced interplay between humanity and technology. In an era where the algorithms dictating our daily lives demand scrutiny, Coetzer's work provokes essential inquiries: Who maintains control? How do we differentiate between influence and autonomy? “The performance doesn’t just present these questions—it invites the audience to participate in finding the answers,” Coetzer said.
What makes autoplay truly unique is its fluidity. Each performance will be distinct, as generative AI processes curate original musical compositions in real time. Furthermore, audience interactions will dynamically shape the unfolding narrative, rendering each experience richly unpredictable and deeply personal. This intersection of human expression and machine intellect creates a thrilling atmosphere that challenges preconceived notions of performance.
Featuring an original score by Brydon Bolton (Benguela), with vocals from Inge Beckmann (Lark, Beast) and Njabulo Phungula, the music intricately blends organic and manufactured soundscapes, enhancing the audience's sensory journey through this surreal exploration of reality. Meanwhile, choreographic, directional, and set design elements by Coetzer contribute to the layered complexity of the piece, using absurdity and satire to examine the passive acceptance of our technological dystopia.
The accomplished cast, including Louisa Talbot, Darion Adams, Lwazi Mzimase, and Tamsyn Pretorius, will embody this groundbreaking narrative, elevating the dialogue around artificial intelligence and its implications in our world. Originally debuting in a transformed site in Cape Town in September 2024, autoplay will mark its theatrical debut at Baxter Theatre, promising to be a landmark production that pushes the boundaries of what's possible in art.
To complement these performances, a seminar led by Coetzer and the creative team will take place at the Little Theatre on UCT’s Hiddingh Campus on 10 March from 10:00 to 12:00. This free event offers audiences a chance to delve deeper into the making of autoplay and explore the use of AI as a creative partner. Booking is essential and can be made by contacting robyn@darkroomcontemporary.com.
Darkroom Contemporary Dance Theatre stands at the forefront of innovative performance, consistently delivering distinctive works that intertwine technology with art. The company’s founders, Louise Coetzer and Oscar O’Ryan, have received global acclaim for their pioneering productions. Recent accolades include the prestigious Artist Award at the POOL Movement Art Festival in Berlin (2022) and the DCAS award for Most Innovative Contribution to Dance (2023).
Their current film, Blue Funk, is reaping awards on the international festival circuit and has the honour of being the first South African entry selected for the 2024 Cinedans Festival in the Netherlands. The film has also garnered several prestigious awards, affirming the founders’ impact on the contemporary dance scene.