In this paper, we propose a multi-robot interaction system based on audience attention. The multi-robot system consists of multiple robots. Each of the robots has own role for robot interactive theater. The performer robot is programmed to perform a show on the stage; whereas the spectator robot is programmed to behave like an audience. In order to evaluate the immersion in robotic theater, we consider the direction of the user's gaze. Eye contact is important in order to create a life-like communication. Thus, we implemented OpenPose to performer robot for detecting human audiences. During the robot performance in robot theater, spectator robot tends to cheer up the performer robots through active feedbacks. In addition, it further explains the content of the robot performance to human audiences in the theater through verbal speech. We show result what human audiences can focused more to robot theater performance by communicating with spectator robot.

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Furi, mimic gestures in theatricals, are based on daily movements. In this study, daily movements and mimic gestures of the movement of hands and arms were compared. Subjects were 10 adult females and 30 infants. This test involved four experimental gestures: (1) the pot is empty; (2) the pot is half full of water; (3) the pot is full of water; (4) the pot is covered, and the subject does not know how much water it contained. Each experiment had three phases: (1) transport empty (reaching), (2) grasping, and (3) transport loaded (pulling back). The results were as follows. For daily movements, when there was an increase in the volume of water, the time required was longer, especially in the second phase. When subjects could not estimate the volume of water, the time required in the first phase was longer. When there was an increase in the volume of water, the area covered by hand movements was smaller, and the hand tended to move in a straight line. When there was an increase in the volume of water, the trunk of the body rotated around the longitudinal axis. The proximal parts of the body tended to be fixed. Movements of the distal parts of the body were smaller in the real action than in the mimic action. For mimic gestures, when there was an increase in the volume of water, the time required was longer in the third phase. The area covered by movement of the hand and elbow was larger, and the hand tended to move in a curved line. The proximal parts of the body moved with the distal parts. When there was an increase in the volume of water, the trunk of the body leaned anteriorly. As for infants under 4 years, there is no significant differences the time and spaces of upper limb movements effected with object they estimate. The results indicated that the time required was in proportion to the volume of water in both mimic gestures and daily movements. However, in daily movements the time required in the second phase is larger, while in mimic gestures that in the third phase is larger. The area covered by hand movements is even larger. In mimic gestures of theatricals these characteristics were clearly seen. It can be said that actors "overact" or omit some of the daily movements, according to the dramatic requirements of the scenes.

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1975年、歌舞伎座において、日本人のための日本語による、同時解説イヤホンガイドが導入された。現在、イヤホンガイドは歌舞伎公演に定着し、多くの観客が利用するようになり、歌舞伎において重要な地位を占めている。しかし、イヤホンガイドの実態や、誕生の経緯とその目的は、これまで明らかになっていない。そこで本稿では、イヤホンガイドの歴史を振り返り、歌舞伎におけるイヤホンガイドとは如何なるものかを改めて考えるため、1960年の歌舞伎アメリカ公演の際に導入された、イヤホンを用いた同時通訳に着目した。　この同時通訳は、当時ニューヨーク・シティ・バレエの総支配人であり、アメリカ公演で重要な役割を果たしたリンカーン・カースティンの発案によるものである。1960年以前、同時通訳は国際会議では利用されていたものの、舞台芸術においては、同時通訳ではなく、パンフレットや開幕前及び休憩時間における解説が主流であった。それでは何故、アメリカ公演において、歌舞伎に同時通訳が導入されたのか。その目的と経緯を、歌舞伎公演の前年の1959年に行われ、カースティンが関わった雅楽アメリカ公演や、歌舞伎アメリカ公演における演目選定を通して考える。また、アメリカ公演の同時通訳は、ドナルド・リチーと渡辺美代子の二人の通訳者により行われ、その同時通訳台本が残されている。この台本をもとに、当時上演された『仮名手本忠臣蔵』と『娘道成寺』の二つを取り上げ、同時通訳の内容がいかなるものであったのかを考察してゆく。

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