Journal of Cleaner Production 248 (2020) 119201

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Journal of Cleaner Production

journal homepage: www.elsevier.com/locate/jclepro

A playwriting technique to engage on a shared reflective enquiry

about the social sustainability of robotization and artificial intelligence
Marco Casazza a, *, Luca Gioppo b
a
University of Naples ‘Parthenope’, Department of Engineering, Centro Direzionale, Isola C4, Napoli, Italy
b
Ordine degli Ingegneri della Provincia di Torino, via Giolitti 1, 10123, Torino, Italy

a r t i c l e i n f o a b s t r a c t

Article history: This work was developed to implement and apply a theatre playwriting technique for an art-based
Received 27 June 2018 research in the domain of social sustainability of artificial intelligence and robotization. The use of
Received in revised form artistic media, instead of the prevalent technical and normative approaches to sustainability, allows to
23 October 2019
develop a reflective aesthetic enquiry, supporting a “learning by heart”, that should parallel analytical
Accepted 6 November 2019
Available online 11 November 2019
thinking. First, some key methodological elements to be applied to the playwriting process were defined.
In particular, the process of interactive meaning-making among researchers, the multisensory knowing
Handling Editor:Yutao Wang as forms of expression of the self and creativity and the experience of action. Moreover, the integration
scientific knowledge, the communication of complexity and the focus of feelings, as element of
Keywords: authenticity, were considered. The methodological elements were integrated into the writing process of
Robotization “The Wizard of RobOz”, inspired by Baum’s novel, “The Wonderful Wizard of Oz”. The play focused on
Artificial intelligence human identity, in contrast to robot identity. Feelings (altruism and love) emerged as the core of good
Creativity choices. The contrast between human and non-human agents, was, then, resolved considering the
Theatre
importance of design in obtaining a good integration between the two worlds. The topic of the play is
Social sustainability
relevant at societal level, due to the foreseen transition to a “society 5.0”, where humans and non-human
Art-based research
agents will have to be integrated. The evaluation phase showed that a coherent and structure story was
generated though the fixed technique. However, the perceived authenticity and resonance evaluation
should be implemented with further work. The focus on social sustainability of robotization and AI
constituted a novelty with respect to previous works, which only investigated the technological appli-
cation of robots to theatre. the use of a scientific literature review to support the brainstorming phase
served to implement the integration between science and art. Another element of innovation was the use
of professional performers, instead than scientists. In parallel, this play allowed to apply an open source
robot design, building and programming for theatrical purpose. The large participation of public to the
representation showed the potentiality to transfer this playwriting technique into the domains of new
education and communication projects. However, it would be recommended to integrate, within the
research and meaning-making process, the other dimensions of sustainability, as well as a relevant
presence of ethical reasoning.
© 2019 Elsevier Ltd. All rights reserved.

1. Introduction
The introduction and evolution of robots, Information &
Communication Technology (ICT) sector and Artificial Intelligence
(AI) are globally shaping our present and future. In 2016, 294,312
robot units were sold, with a mean year trend growth of 12% be-
tween 2011 and 2016 (International Federation of Robotics, 2017a).
* Corresponding author.
E-mail address: marco.casazza@uniparthenope.it (M. Casazza).
In parallel, in the same year, 59,706 service robots were bought for
different uses (from health care to defence to logistics and public
relations) (International Federation of Robotics, 2017b). Latest
available data, referred to year 2012, showed that ICT sector
consumed 4.7% of worldwide produced energy, with a projected
impact on CO2 equivalent emissions of 4 Gt within year 2030
(Gelenbe and Caseau, 2015).
With respect to big data management, AI will play a crucial role
in transformed unstructured data into useful and ‘actionable’ in-
formation (Kersting and Meyer, 2018). Statista web portal reports

https://doi.org/10.1016/j.jclepro.2019.119201
0959-6526/© 2019 Elsevier Ltd. All rights reserved.
2 M. Casazza, L. Gioppo / Journal of Cleaner Production 248 (2020) 119201
that revenues derived from AI enterprise applications could grow
from 517 million USD (year 2016) to 31,236 million USD (year
2025).1 According to the most recent analysis by Adobe, 15% of
enterprises are using AI (Adobe, 2018). The same report details the
fact that, on regional scale, Asia and Pacific (APAC) region is more
open towards AI than their European and North American coun-
terparts. In fact, 53% of APAC enterprises involved in the data
analysis are either already using AI or planning to use it in the next
12 months. Instead, European and North American companies are
more cautious with this respect.
Both positive and negative impacts of this technological evolu-
tion are not yet fully understood. Meanwhile, people’s reactions are
contrasting. Some are optimistic. This is the case of Raymon
Kurzweil (2005). In his book, “Singularity is Near”, the author
foresaw the application of robots and AI to re-engineering of waste
material at nanoscale, in order to remove the existing environ-
mental impacts generated by anthropogenic activities. Other au-
thors foresaw the beneficial effects of an improved use of big data,
which represents a promising field of research and development
for enterprise sustainability and cleaner production development,
both in terms of resources management and improved well-being
(Boone et al., 2017; Song et al., 2017; Wu et al., 2017; Zhang et al.,
2017; Liang et al., 2018). New opportunities are also envisioned,
both in environmental and socio-economic terms, for developing
Countries (Quinn et al., 2014). Beneficial impacts are even expected
in managing complex policy-making processes (Milano et al.,
2014).
However, opposing views and worrisome words are also
abundant in the global arena. It would be sufficient to think about
the title of an article, published in Scientific American: “Will De-
mocracy Survive Big Data and Artificial Intelligence?” (Helbing
et al., 2017). The recent scandal of Cambridge Analytica repre-
sents only one among the risks described through the terms
‘datification’ and ‘information capitalism’, as discussed by Taylor
and Broeders (2015). A past expert roundtable, which took place
in Tokyo (Japan), highlighted some of these side-effects (Sugiyama
et al., 2017). Will be the core of human nature preserved? How
human life will be integrated with non-human agents?
Considering the global dimension of this highly-uncertain
complex problem, the proposed questions can be classified as a
post-normal science issue (Funtowicz and Ravetz, 1994; Ravetz,
1999). This is why a public debate would be crucial both in
shaping the future in this fields and in minimizing the unwanted
side-effects. Human identity and values are at the core of this
debate, without forgetting the complex nature of this topic, where a
“tacit dimension of relation between human and technology” exists
(Calvard, 2016; Gill, 2016).
The existence of diverging social and cultural beliefs requires to
avoid an individual axiomatic approach (Cucuzzella, 2016). Instead,
a collective enquiry approach should be preferred as a relevant
instrument for increasing the level of social reflexivity (Luks, 1999).
With this respect, the use of an art-based enquiry approach rep-
resents a potential alternative pathway to explore. This is the
reason which lead to the creation of a new theatre play, “The
Wizard of RobOz”.
Shaun McNiff (2012) defined art-based research as a method of
inquiry, which uses different artistic media as ways of under-
standing the significance of what we do within our practice. Ac-
cording to the author, the psychological basis of art-based research
is rooted on Carl Gustav Jung works. In particular, Jung (1997)
claimed that the “immersion in the creative imagination” could
1
www.statista.com/statistics/607612/worldwide-artificial-intelligence-for-
enterprise-applications/(accessed: 02/05/18).
generate a sustained personal “confrontation with the uncon-
scious” through an aesthetic experience, being “the essence of
experience per se” (Gadamer and Continuum, 1994) and supporting
the attribution of meanings to personal experience.
The key role of personal experience in reflective aesthetic
enquiry is also reflected in the alternative definition of art-based
research as first-person science, in parallel to traditionally-
defined science, identified as third-person (analytic) science
(Weber, 2016). With respect to other methods, arts-based research
doesn’t necessarily offer an answer or a final meaning to a question,
but it aims to provoke the engagement and inspiration through
implicit questioning or suggestions (Eaves, 2014; Chamberlain
et al., 2018). Artistic media are relevant since they are considered
important for “learning by heart” (Gildin et al., 2013). In particular,
considering the original meaning of poetics, theatre represent a
medium where actors bring “something into being that did not
exist before” (Polkinghorne, 2004). In particular, theatre is one of
the ways to conduct a research in and through the creation of art
(Knowles and Cole, 2008; Chilton and Leavy, 2014; Michelkevicius,
2015).
This work defines the art-based research technique features,
using theatre as a medium, that are applied to develop a play on the
social sustainability of AI and robotization. Previous works used
theatre as a medium for art-based research (e.g.: Knowles and Cole,
2008; Chilton and Leavy, 2014). Artistic media are relevant since
they are considered important for “learning by heart” (Gildin et al.,
2013). In particular, considering the original meaning of poetics,
theatre represent a medium where actors bring “something into
being that did not exist before” (Polkinghorne, 2004).
The emerging science question behind it could be formulated as:
“How can art-based research techniques be applied to theatre, as an
artistic medium, to write a play in the domain of social sustain-
ability of artificial intelligence and robotization?“. According to
Spatz (2015), a theatre play, as any other performing language,
constitutes a valid instrument for a research purpose, if it generates
a technique, such as the one applied to playwriting, is a valid art-
based research outcome, being both as the main form of trans-
missible knowledge a valid instrument for a research purpose.
The work contents are developed as follows. The methodolog-
ical remarks are introduced by a brief literature analysis on the use
of arts and theatre within sustainability studies. Then, the key el-
ements of a playwriting method, in the context of art-based
research, are defined with respect to its contents and its writing
̌
process. These elements are applied, in the following section,
within the description of the playwriting process, applied to the
“Wizard of RobOz”, as a case study. The discussion is focused on the
evaluation of the developed playwriting technique, considering the
key elements of evaluation of an art-based research given by Leavy
(2017). In parallel, current limitations, which should be overcome in
the future, are also identified. At the end, the novel elements,
contained in “The Wizard or RobOz”, are outlined together with the
potential developments of this work.
2. Playwriting methodological approach
2.1. Theatre, creativity and sustainability
Creativity and performing arts are powerful tools to promote
collective enquiry and reflexivity. In fact, they support the visuali-
zation of reality using a language, that involves distinctions, values
and promote a multi-faceted perception of the world (Henriksen
et al., 2018). The interest of scholars on creativity and sustainabil-
ity is growing. Scholarly researches are investigating the relations
between creativity and sustainability.
Since 2014, Web of Science (WOS) search engine listed 356
 M. Casazza, L. Gioppo / Journal of Cleaner Production 248 (2020) 119201
research and review papers dealing with creativity and sustain-
ability (0.38% of the production about sustainability), while Scopus
(SC) search engine detected 89 papers (0.13% of the production
about sustainability). WOS also found 1,605 papers (1.69% of the
whole paper production about sustainability) about art and sus-
tainability, while SC identified 2,013 publications (2.88% of the
whole paper production about sustainability).
Among the most powerful performing arts, characterized by
distinction in languages and by exposition of multi-faceted per-
ceptions, theatre occupies a special place. With respect to the
application of theatre to sustainability, WOS identified a sub-
ensemble of 60 papers, while Scopus showed that 36 papers are
focused on this inter-relation. Looking to the numbers, it seems that
theatre occupies a very limited interest with respect to sustain-
ability. However, H. J. Schellnhuber (1999) introduced the crucial
metaphor of ‘theatre word’ to describe the paradigms of social and
environmental coevolution within the framework of sustainable
development. This metaphor indirectly explained how theatre can
focus on sustainability, paying attention to such mutual dynamics.
Stephenson Jr. and Zanotti (2017) evidenced the rising numbers of
public and private actors, which are using music and theatre for
increasing social stability and sustainability of communities. This
confirms the view of many scientists, who reported that arts can
provide an appropriate atmosphere for transmitting complex in-
formation, supporting reflection and helping the public to under-
stand complex scientific topics (Curtis et al., 2012). Other similar
€ns, 2013;
studies followed, as reported by the literature (e.g.: Jurrie
Aaltonen, 2015; Chowdhury et al., 2016; Heras et al., 2016).
Besides science communication, other theatre plays were used
as instruments of public communication in the field of public
health management (Nisker et al., 2006; Cox et al., 2009; Bowman,
2017; Campos and Araújo, 2017). In parallel, it is recognized that
theatre plays a relevant role for education and public engagement
(Roche et al., 2016; Berger and Robertson-Kirkland, 2017; Harvey,
2017; Bleuer et al., 2018; Rodgers et al., 2018). The role of theatre
in supporting both formal and non-formal education is well
recognized around the world (Kidd, 1984; Gallagher and Service,
2010; Davis and Tarrant, 2014; Everett, 2015; Moreira and
Marandino, 2015). In fact, theatre is one among the tools that can
support a transformative environmental education, engaging both
learners and teachers in a process of self-reflective transformation
€thzel and Uzzell, 2009).
(Ra
Theatre is an instrument of public engagement, at least since the
time of ancient Greece, when it was used with the purpose of
collective purification. In that case, ethical issues were dominant. In
fact, social habits and traditions were seen as a guarantee of social
stability. This is still true today, particularly in the case of some
theatre research works (Howe, 2014). Similarly, today, scientists are
trying to use theatre plays to open a dialogue with the public and to
raise awareness on relevant social and moral questions faced by
science (Maral et al., 2017).
Recently, Heras and Ta bara (2014) begun to investigate the
application of performing arts to sustainability science. The authors
found that previous performances on this topic mainly focused on
community-based natural resources use and management. With
respect to performative approaches, they also identified some
common characteristics. In particular: application of self-reflective
processes for collective exploration; development of communities’
active participation; integration of different sources of knowledge;
transformation of public from passive audience into active pro-
tagonists of knowledge, who become able to develop narrative and
stories. Finally, the potential development factors of theatre for
sustainability were identified: the integration of different sources
and kinds of knowledge, perspectives and values; the communi-
cation of complexity; the support to social understanding and
3
reflexivity; the increase of socio-ecological consciousness; the in-
crease of emotional engagement, which leads to action.
2.2. Art-based research and playwriting methodological
characteristics
The necessity of implementing the use of art-based research in
sustainability studies was affirmed by Heinrichs (2019). According
to this author, the use of performing arts follows the need to
contrast the overwhelming use of technical languages, conceptual
models and normative basis in sustainability studies. According to
the same author, the current use of technical-oriented approaches
and languages constitutes a limitation, due to the fact that societal
changes are dependent upon cognitive, social and cultural di-
mensions, that are trigged by emotional factors.
The technique to write a theatre play, in order to represent a
form of art-based research, should respect some basic rules. First,
the final work should emerge from a process of interactive
meaning-making among researchers (Balevi  te,
ciu _ 2018). Meaning
making is here defined as the applied process to give expression to
experience and to create self-awareness (Blackler et al., 2018).
Second, it should be derived from multisensory knowing, achieved
through different experiences of action, expression of the self and
creativity (Malchiodi, 2007, 2018). Third, it should incorporate an
academic interest, becoming something different than a method
and a process for creating an artwork (Borgdorff, 2010). This means
that science should be incorporated in some way into the artwork
(Leavy, 2017).
The play writing process stemmed from the previous experience
of Freiburg Scientific Theatre (FST hereafter), as discussed by
Ju
arez-Bourke (2018). In particular, four working steps were
implemented and adapted with respect to the original FST
approach for defining the play writing process: Step 1 e Main
theme identification; Step 2 - Brainstorming and bibliographical
research; Step 3 e Definition of play structure, characters and plot;
Step 4 e Text creation and analysis; Step 5 e Performance. Steps 1
and 2 involved the coordinators of the project, the play writers and
the play director. In the last three steps, all the participants were
actively involved.
With respect to the workflow structure introduced by FST, this
work developed some original components. With respect to Step 2,
the original framework proposed to involve only science experts
into brainstorming to discuss the meaning and contents of their
personal experiences. However, while this direct involvement is
positive from a psychic/emotional perspective, the value of per-
sonal experience might be limited, depending on the level of
participation of each expert and on their variable knowledge of the
topics under debate. This is why, based on a previous experience by
Casazza et al. (2017), the brainstorming was supported by a review
of relevant published papers, chosen according to their topic and
their number of received citations. A second element of innovation
was the explicit choice on the use of multiple performing lan-
guages. Besides acting, dance, music and visual supports were in-
tegrated into the play. Moreover, two robots and an AI-based
system were directly used during the performance. A third element
of innovation was the use of professional performers, instead than
scientists-as-performers. Finally, while FST developed its plays for
scientific conferences, this playwriting technique was applied to a
play, which was performed in front of a general public, made both
by experts and by non-experts.
Accordingly, in this work, some elements of the writing process
specifically recalled the characteristics of an art-based research
product. In particular, the process of interactive meaning-making
among researchers was developed through brainstorming and
collective activities. The multisensory knowing was implemented
4 M. Casazza, L. Gioppo / Journal of Cleaner Production 248 (2020) 119201
through individual contributions, as forms of expression of the self
and creativity. The experience of action, then, was generated
through the performance. The academic interest, as science incor-
porated into the artwork, should be derived from the support of
scientific literature review, as relevant material in defining the
topics and contents of the play.
3. The “Wizard of RobOz”: the methodological approach
applied to playwriting
3.1. Theme definition
The first step involved a first smaller group of participants. In
particular, Luca Gioppo, as coordinator, being an engineer, and
Davide Allena, as the play director, and Francesca Puopolo and
Nathalie Bernardi, as playwriters. Davide Allena, Francesca Puopolo
and Nathalie Bernardi were involved as professional artists. First,
the theme was fixed, on the basis of the core reflection topic (i.e.:
social sustainability of AI and robotization). With this respect, this
theatre play, entitled “The Wizard of RobOz”, was inspired by the
novel “The Wonderful Wizard of Oz”, written by L. Frank Baum
(1900). This choice was motivated by personal preferences, as
well as by a previous study, which described this novel as a rep-
resentation of rational-technical myth system, where power, ach-
ieved through rationality and techniques, is understood as the only
instrument to achieve any personal goal (Ingersoll and Adams,
1986). Consequently, being rationality and techniques two core
components of robots and AI, the choice seemed particularly
appropriate. After fixing the main theme of the play, social sus-
tainability was chosen as a cross-theme of the play.
3.2. Brainstorming and bibliographical research
Brainstorming aimed at the definition of topics and the general
structure of the play. In particular, as a first step, Marco Casazza, an
environmental physicist and a violin player, joined the group for
supporting the research-side of the play writing process.
This phase was introduced by a brain-storming, aimed at
defining the bibliographical research characteristics and the topics
to be searched for. A bibliographical research was performed, using
Web of Science and Scopus as search engines, on the following
keywords: “artificial intelligence” AND “social sustainability”;
“robot” AND “social sustainability”; “human-machine” AND “social
sustainability”; “big data” AND “social sustainability”. Results were
ranked for relevance and citations number. A second brainstorming
among the participants was aimed at analysing the results of the
searches and at identifying the most relevant topics to be presented
within the play, according to the highest ranking and citations
received. This research phase allowed to gain complementary
views with respect to the selected play theme and topics.
3.3. Play structure, characters, structure and plot
Two key characters were inspired by the novel by Baum. In
particular, Dorothy and Tin Woodman. The choice of the latter was
due to the character’s desire for a heart, even if made of tin. The
main plot was developed through a set of dialogues between these
two characters. The special characteristic of this re-adaptation was
that the character paralleling Tin Woodman was played by a robot.
The robot, ordered by the Order of Engineers of Turin’s Province,
was developed by “Hot Black Robotics” from a design based on the
open source InMoov (online: inmoov.fr/), printed using 3D printing
technology and controlled by two boards (Arduino and Raspber-
ryPi), piloted through ROS software over a wireless connection. A
microphone signal output (i.e.: voice signal) sends the commands
to the ROS node to operate the servomotor, that controls the facial
movements of the robot’s head. The choice of open source and open
hardware solutions follows the aim to reuse the artefacts as
teaching elements both for professionals and students.
On the other side, Dorothy was played by a woman. However, in
“The Wizard of RobOz”, Dorothy represented a humanoid robot,
which interacted through reflective dialogues with the substitute of
Tin Woodman, called RobOz.
With respect to the play structure, each scene recalled a theme,
which can be associated to sustainability or to specific side-effects
of robotization and AI discussed by Sugiyama et al. (2017). In
particular, the scenes were combined according to a sequence
relevant topics, which emerged as a result of the literature review
and brainstorming. This combination of topics and scenes was
summarized in Table 1.
The structure of “The Wizard of RobOz” was built alternating
recitation sections, where the different topics are exposed to the
public, and interludes, where different performing arts were used
as ways to support the textual meaning. This structure recalls the
basic alternating form (individual recitation e choir) already used
in ancient Greek tragedy. Classical Greek tragedy served as refer-
ence to develop the plot, evolving from the narrative of contrasts,
viewed as destabilizing social aspects, to their removal/harmoni-
zation (viewed as collective purification), at the end of the action.
Finally, each scene had the purpose to recall a theme associated to
sustainability or to specific side-effects of robotization and AI, that
were discussed by Sugiyama et al. (2017).
After defining the play topics and its structure, the story line was
created by Francesca Puopolo and Nathalie Bernardi. Both the
characters and the plot were fixed with the aid of Davide Allena.
The group participating in the writing process (the authors,
together with Davide Allena, Luca Gioppo and Marco Casazza)
decided to follow the structure of classic Greek tragedy, alternating
recitations with interludes. The word interlude, according to the
Merriam-Webster dictionary, is defined as an intervening or
interruptive period, space, or event. Often used in music, this word
also indicates a musical composition inserted between the parts of
a longer composition, like a drama.
Paralleling the function of choruses in Greek tragedy, six in-
terludes, after each dialogue, were written, serving as comments to
the main plot (Table 2). The definition of interludes aimed at further
underlining the topics of the dialogues between Dorothy and
RobOz. The used multiple performing languages (acrobatic per-
formance, illusionism, live sand-drawing, dancing, music playing)
were chosen also to reflect the multi-faceted nature of human
creativity.
Within the 5th interlude, the use of a second robot was intro-
duced, to represent the resolution of human-machine competition
through creative cooperation. This artefact was implemented
adding, on top of a laser harp, a set of servo-actuators piloted by an
Arduino board and controlled through a PC connection. MIDI pro-
tocol was used to control the movement of the ray blocker actua-
tors. This empowered the machine to play autonomously the laser
harp.
Interlude creation involved the performers together with the
previously-involved group. In particular: Golden Power (acrobatic
duo); Alberto Giorgi and Laura Giorgi (steampunk style illusionist);
Marco Casazza (from the previous group, as violin player during the
performance); Paolo Mosele (support to music composition and
arrangements, in cooperation with Marco Casazza); Paolo Carta
(sand drawing); Sara Renesto, Chiara Cardini and Alice Aquino
(modern dancers/illusionists); Laura Scaringella (classical dancer);
Roberta Bacciolo and Gianni Agnolon (singers); Giulio Evangelista e
Daniela Magnetti (hip-hop dancers). All these performers were
chosen being professional artists.
 M. Casazza, L. Gioppo / Journal of Cleaner Production 248 (2020) 119201 5

Table 1
List of relevant topics (central column) with respect to robotization and AI side effects and social sustainability. Each group of topics is associated to a scene of the theatre play
(left column). Each topic was chosen on the basis of specific literature references, which discuss them. The references are reported on the third (right) column.

Scene Topics References

No.

1 1. Creative capacity and intelligence, also in post-human 1. Kurzweil (2005)

perspective; 2. Boy (2011); Bianchi-Berthouze and Isbister (2016); Ehlers and Brama (2016)
2. Body-based creativity and machine design;
2 1. Big data, digital and augmented reality; 1. Minchev (2016); Outram (2016); Corbett (2017); Dold and Groopman (2017); Sugiyama
2. Human emotions; et al. (2017)
3. Machine learning and ethics 2. Blar et al. (2015); Nomura (2016); Sugiyama et al. (2017)
4. Social sustainability as safety and eco-prosumption 3. Sharkey (2016); Schneider and Deml (2017); Arnold (2018)
4. Eizenberg and Jabareen (2017)
3 1. Big data ethics 1. Mittelstadt and Floridi (2016); Sugiyama et al. (2017) Marsden et al. (2018); Sharma and
Gupta (2018)
4 1. Human brain-machine interface 1. Rose (2014); Davies et al. (2015); Harvey et al. (2016); Klumpp (2018)
5 1. Human-machine competition; 1. Boy (2011); Johnson et al. (2014)
2. Robot/artificial creativity 2. Augello et al. (2014); Moura (2016); Kahn et al. (2016); Jochum et al. (2017); Sandry
(2017)
6 1. Artificial/machine immortality 1. Kurzweil (2005); Kim (2018); Krüger (2018)
2. Social sustainability as consumer/product responsibility and fair 2. Ajmal et al. (2018)
practices 3. Dimitrova and Wagatsuma (2015)
3. Human creativity and human feelings

Table 2
Interlude list. On the left the scene number. On the central column, the characters on stage. On the right column, the topic represented during the interludes.

Scene Interlude Topics

No.

1 1. Two acrobats
2. Singer and classic dancer
2 Steampunk style illusionist
3 Hip-hop (robot) dancers
4 1. Coin operated boy dance
2. Sand drawer
5 Violin player vs. robotic
player (music)
6 Laser dancer
Comparison between machine movement and programming versus human movement learning. Body-centred design (represented
by the acrobats) and creativity (singer and classic dancer)
Desire of reconnecting humans to machines (Onion (2008); relevance of machine design for humans (Bix, 2012).
Reference to oppression, protest against violence, incarceration and the lack of safe spaces (see: Roychoudhury et al. (2014);
Bachmann (2017)).
Critique on the human relationship and versus a more aseptic automated partnership with a programmed entity that satisfy all the
individual need.
Risk of destruction of human nature and heritage by robots (referred, during the text, as “dispersed as sand”)
Human-machine competition and robot-based art
Reality dematerialization (use of laser light) as a symbol of immortality

In detail, the play text stemmed from alternate brainstorming
and improvisations sections among the involved performers, the
play writers and the director. Brainstorming phases served to share
the outcome of the previous steps, as well as to gain different
perspectives and views with respect to the interludes topics. In
parallel, improvisation sections were used in order to find the most
suitable performing technical solutions.
3.4. Text writing and analysis
As a following step, the draft text of the play was written. Then,
the manuscript was shared for comments and reviews among the
participants to this stage of the work. A final review and harmo-
nization of the text structure and the play contents, involving the
text writers, the performers and the director, closed this step,
before the public performance.
The last phase of the work, Before the public representation, the
play text was revised, giving also a brief textual analysis of “The
Wizard of RobOz”. This analysis integrated also some consider-
ations on the method, as described in the previous section, used for
building the contents of this theatre play. Then, the analysis, pro-
duced in draft by Luca Gioppo and Marco Casazza, was shared and
approved by the text writers (Francesca Puopolo and Nathalie
Bernardi), the play director (Davide Allena), as well as by all the
involved performers. A sharing-and-approval process was required
to verify that the text reflected the ideas of each participant.
3.4.1. Text analysis
The play is opened by a first dialogue, where the character
named RobOz, interpreted by a robot, briefly recalls to the specta-
tors’ memory the story of “The Wonderful Wizard of Oz”, up to the
point where a magnificent palace appears. Then, a new story be-
gins, again told by RobOz, which describes “Free Intelligence”, an
immortal agent, who built the palace, as well as the best available
technologies in the world. Dorothy appears at the end of this
monologue, opening a dialogue, which lasts until the end of the
play, separated by five interludes. In particular, the topics of di-
alogues (see Table 1) and of the interludes (see Table 2) constitute
the plot of the play.
More in detail, the first topic introduced is the perfection of
human body and the mechanical perfection of robots (first dialogue
and interlude). Such a perfection derives from the need of sup-
porting humans in their activities. This is why a co-integration
between humans and non-human agents (robots, supported also
by AI) should be desirable (second dialogue and interlude). To do so,
the designer (in the play, Baum’s character of Tin Woodsman is
recalled as the ancestor and designer of robots and humanoids) had
to collect many data. However, there is a big responsibility in pre-
serving such data, as well as in choosing which data to collect and
which not, depending on the motivation of the designer. In the
dialogue, RobOz says that Tin Woodsman didn’t collect all the
necessary data, because its action was motivated by love (third
dialogue and interlude). In contrast with the previous section, the
next dialogue and interlude remark that humans are under risk of
6 M. Casazza, L. Gioppo / Journal of Cleaner Production 248 (2020) 119201
extinction (the text says that humans risk to be “dispersed as
sand”), if love and altruism do not serve as main drivers of AI and
robot design. Conversely, the next dialogue and interlude, show
that, instead of competition, cooperation and creativity should be
the basic factors to give “a touch of magic” (as written in the text) to
the future. This “touch of magic” is represented, in the interlude, by
the music, played together by Marco Casazza, as violin player, and a
robot, playing a laser harp. During the last dialogue and interlude,
coming after the resolution of contrasting views (i.e.: conflicts be-
tween humans and technologies, solved by the touch of magic,
represented by music), Dorothy, says: “We will bring ahead the
miracle of joint intelligence and freedom, as well as purity of aims,
so that humans will always remember that they are capable of love.
Only love will save them from dispersion”. Then, RobOz replies:
“Bright is the intelligence of who designs by heart”.
With respect to the formal aspects, as remarked before, “The
Wizard of RobOz” has the alternating structure of recitation and
interludes. The different topics are exposed to the public and, then,
different performing arts are used as ways to support the under-
standing of dialogues. This alternate structure is derived from
ancient Greek tragedy. Also the plot evolution, from contrasts,
representing destabilizing social aspects, to their removal/harmo-
nization (viewed as collective purification), at end of the action, is
derived from the plot structure of classical Greek tragedy. In this
case, the plot ends with the resolution of human-machine conflicts.
This is especially clear, in two different moments. The first is the
5th scene interlude, where a music duo between another robot and
a violin player is used. During the interlude, three music pieces are
used and merged together in a playing list. Each one of them is
opened by a robot, also supported by a supplementary audio file, to
complete the harmonic and rhythmic sections. The music score
uses the same melody line as a form of alliteration. Along the
pieces, both rhythms and harmonies become more pressing to in-
crease the public engagement. The contrasts between human and
robot players are represented by a sudden interruption of the
electronic/robot side in the middle of the first two pieces, with the
violin player playing alone, to represent the central and moral role
of humans in decision-making processes with respect to robot ac-
tions. Thus, human player solos represent the key human role
behind machines. This is further underlined by the fact that human
player directs, as an orchestra conductor, the starting of the
selected playlist. The resolved conflict and cooperation are shown
during the third section of the playlist, where the whole piece is
performed until the end. The second moment, in which the reso-
lution and harmonization of human-robot conflicts is clear, is found
at the end of the play. In fact, the RobOz, which is the new ‘incar-
nation’ of Tin Woodman, pronounces the last phrase, saying that
behind the machines there must be a “luminous intelligence” of
who designs with feelings. Thus, a double-resolved contrast
through harmonization is represented: the one between humans
and machines and the one between intelligence and feelings.
The text, whose topics were chosen in the way shown in the
previous section, alliterates the concepts of ‘free intelligence’ (being
also a key-value in the original novel by Baum), which is found 26
times along the play, contrasting with ‘human being’ and ‘heart’,
which are found 14 times. In particular, ‘free intelligence’ and
‘heart’ are seen as drivers of technological evolution. Alliteration is
a specific rhetoric form often used to focus the attention of the
reader/public on key concepts, as well as to create a growing ten-
sion and attention along the text. However, they are not presented
in a dualistic form. Instead, overcoming the binary vision typical of
modern Western world, intelligence and feelings are seen as inte-
grated skills. In fact, a climax is reached in the last phrase, pro-
nounced by Tin Woodsman, when saying that “Illuminated
intelligence is the one which designs with the heart” (being heart a
known symbol for feelings). Along the plot, the function of the
dialogues is to merge the topics (see Table 1 and 2), as well as to
introduce them.
3.5. Outcome phase: the public performance
The play was represented on April 19, 2018, in Torino (NW Italy),
at Alfieri Theatre. The participation was free and open to anyone,
but the number of seats was fixed by the Theatre management at
1,300 places. As a result, 1,293 people took part to it. However, the
booking system recorded 3,492 individual accesses to book a ticket.
For different technical reasons, it hasn’t been possible, up to now, to
fix an encore performance. Before the date of the play, an official
video trailer was published on YouTube, receiving 832 individual
visits. The play official trailer, which also includes some pictures
from the public performance, is available as Supplementary Ma-
terial. The news about the representation was reported by 4 articles
published in different nationally-distributed journals. Moreover,
the Italian National Radio & TV Broadcast Company (RAI), broad-
casted a focus about it on the science news thematic programme
‘TG Leonardo’.
Supplementary video related to this article can be found at
https://doi.org/10.1016/j.jclepro.2019.119201
4. Discussion
The value of an art-based research method, such as a theatre
play writing process, can be assessed with respect to different pa-
rameters, as defined in the book on research methods design by
Leavy (2017). First, the comprehensiveness of the approach,
showing how well the components of the process, including the
final representation, fit together. Then, the theatre play, as a
product of the method, can be evaluated according to its authen-
ticity. The last parameter type is the audience response. The same
author suggests a set of questions, that are used here to evaluate the
playwriting technique and final product for “The Wizard of RobOz”.
More in detail, the comprehensiveness of the approach is
assessed according to the existence of a story, its sense, as well as its
structure and coherence with respect to the chosen performing
medium. In this work, the method guided the researchers-
performers to develop a story. The produced story is coherent in
its form, having a beginning, a middle and an end parts. The story
has a sense, even if different from the original story of “The Wizard
of Oz”. In fact, if Baum’s novel represents the evolution of one’s
personality, according to Beebe (2017), “The Wizard of RobOz” can
represent the evolution, from a conflictual to a cooperative
perspective, of AI and robotization, where the nature role of
humans and their creativity is understood in function of human
feelings. While the basic norms of theatre writing reflected many
aspects of classical Greek tragedy, different and contemporary
artistic media were integrated in the performance, such as the hip-
hop dance, the laser lights dancing and the violin player and robot
music duo.
The authenticity of “The Wizard of RobOz”, as in Baum’s novel, is
related on their psychological motivations, which are contextual-
ized within the current cultural landscape and debate (Schulze,
2017), being derived from the scientific literature. Moreover,
authenticity arises as an expression of real experience. In particular,
fears for a conflicts generated by the introduction of AI and
robotization, together with hopes of cooperation between humans
and their artificial counterparts, as emerging topics in the current
public debates, are expressed in the text.
Second, the reality of human-robot interaction potentiality is
performed along the whole play through the use of robots and AI
tools. Some theatre plays already adopted the use of robots and
 M. Casazza, L. Gioppo / Journal of Cleaner Production 248 (2020) 119201
virtual reality. Researches, investigating the technical solutions
with respect to this goal, are found in the literature (Ohya et al.,
1996; Perkowski et al., 2005; Demers and Horakova, 2008; Lin
et al., 2009; Mavridis and Hanson, 2009; Murphy et al., 2011).
Only the work by Chatley et al. (2010) analysed the public
engagement of such a type of play. The authors found that the
personalization of robot communication (both verbal and non-
verbal) and speech, the robot appearance (i.e.: body components
and colours) and task customization were considered relevant by
the public. However, none of the previous works considered the use
of specific messages conveyed by robots during a theatre play, as
well as the use of AI-based tools for theatre performances.
Feelings centrality, as key authenticity factors, emerged again at
the end of the play, where the centrality of feelings in the design of
AI products and robots was expressed. This positive resolution
contrasted with the first part of the play, where contrasting feelings
were expressed in a dichotomic way: human vs. AI/robots; intelli-
gence vs. feelings (love and altruism). Love and altruism were
presented as pure characteristics of the human nature, separating
humans from robots and AI systems. Conversely, a provocation was
suggested at the end of the third section, when it is said that the
motive of action of Tin Woodsman, being a symbolic representative
of robots, was love.
Based on the potential implementation factors of theatre for
sustainability (Heras and Ta bara, 2014), “The Wizard of RobOz”
integrated different sources of knowledge, starting from the sci-
entific literature and the novel by Baum, into a coherent product.
Complexity was also transmitted along the dialogues and rein-
forced with the interludes.
Considering the evaluation phase, two aspects would require
further attention. In particular, the evaluation of play authenticity
and resonance as perceived by the public. This should be assessed
in a measurable way. Thus, performances of the same play might be
used to collect data on how the contents are perceived by the
public. With this respect, it was proved that the use of different
social science techniques for evaluation purposes is effective (Burke
et al., 2018). As a consequence, the integration of existing views, as
proposed by the text, and perceptions might determine the future
topics to include in a future expanded art-based research project.
With respect to public resonance of the play, it is noticeable that
some facts occurred in the city of Torino, where the performance
took place, after the date of the performance. In particular, in the
last two years, the Municipality of Torino implemented a cloud
computing platform for its services administration, the testing of
unmanned aerial vehicles use for city services, some testing public
areas for unmanned cars transportation, as well as the testing of 5G
in mobile communication to support the implementation of IoT
platform. Citizens welcomed all these facts, which were oppor-
tunely communicated through different media, with wide accep-
tance and curiosity. Even if this cannot be claimed as a direct
success in relation to the performance of “The Wizard of RobOz”,
the large publicization of the event might have triggered some
positive influence with respect to the acceptance of technological
innovation within the same city.
The use of theatre as a medium of art-based research allowed to
generate an engagement through psychological motivation. This, in
turn, enabled to integrate the visions of different scientific and
technological futures with social questions, becoming a bio-
poetical tool for enlivenment (Weber, 2016).
The use of theatre, as well as other artistic media, is especially
valuable in the context of AI and robotization debate, considering
the emerging “Society 5.0”, which should aim at generating a
“human-centric society in which both economic development and
the resolution of societal challenges are achieved, and people can
enjoy a high quality of life that is fully active and comfortable”
7
(Fukuyama, 2018). However, this predicated human centricity is
contrasting with the key role of non-human technological com-
ponents involved in the formation of “Society 5.0” (Shiroishi et al.,
2018). This is why the research through “humanism and art-
thinking” will have a use key role in exploring and generate new
meanings within the new online and off-line dimensions of reality
(Naranjo and Sprengel, 2018). In particular, the adopted focus on
human identity and key role of feelings is especially valuable. In
fact, “Society 5.0” could be a cyber-physical society, where human
identity definition will be crucial to engage a cooperation between
human and non-human members, as suggested by the Government
of Japan initiative on this topic. Under these circumstances, only
initiatives, stemming from collective debates and actions, might
reduce the risks of negative impacts, such as social exclusion, as one
of the expected major potential side effects.
This work presents several limitations, that will require to be
overcome in the future. First of all, human identity was not
explored in all its psychological dimensions. In fact, only fears, love
and altruism were considered. Moreover, the ethical dimension was
left unexplored. A minor presence of ethical reasoning represents a
limitation, in a social context of technological innovations and
business imperatives, where valueebehaviour links should have a
key role in decision making (Sonetti et al., 2019).
Identity is not the only topic connected with the social dimen-
sion of sustainability, that should be explored in future art-based
research works. The themes of social justice, the role of work in a
society where humans and non-human agents live together and
cooperate, as well as the concept of social participation should be
discussed. Moreover, the integration of social dimension with the
other dimensions of sustainability is missing. From the economic
side, the risks with respect to the economic aspects (particularly,
the job market and its equity) were not recalled in the text, even if
assessed by statistics and analyses. From the environmental side,
the impacts of robotization and AI for resources consumption were
also excluded from this first representation.
If the ultimate purpose of the introduction and development of
AI and robotization is well-being, the concept of well-being should
be also defined explicitly. In fact, well-being constitutes a key driver
for social sustainability (Munzel et al., 2018). This topic was first
introduced in the 1930s, still being under study (Guttman and Levy,
1982). Nonetheless, wellbeing is not universally defined in a clear
way yet (Salvador-Carulla et al., 2014; Charlemagne-Badal et al.,
2015). Moreover, the psychological dimension is often left outside
the original concept, which stemmed from socio-economic con-
siderations. This fact was already remarked by McAllister (2005),
saying that wellbeing should include elements of life satisfaction
that cannot be defined, explained or primarily influenced by eco-
nomic growth. Conversely, well-being has multi-faceted nature,
which encompasses the emotional, psychological, social and
physical dimensions (Gillett-Swan and Sargeant, 2015). For the
reasons above, a future expansion of this work should include, at
least, a psychologist.
A further integration of different artistic languages within this
play could also represent a parallel field of future investigation. Due
to the promising analogies, further researches on the use of tradi-
tional tragedy (such as classical Greek tragedy) in relation to social
stability/sustainability should be developed in future works.
5. Conclusions
This art-based research work proposed the development and
application of a playwriting technique, that lead to the creation of a
theatre play, meant to engage with the public with respect to the
theme of robotization and AI social sustainability.
The focus on social sustainability of robotization and AI
8 M. Casazza, L. Gioppo / Journal of Cleaner Production 248 (2020) 119201
constituted a novelty with respect to previous works, which only
investigated the technological application of robots to theatre,
instead than considering also the messages to be shared with the
public. The integration of different performing languages (i.e.:
music, dance, acrobatics, …) within the play writing and perfor-
mance is also an infrequent fact, requiring the involvement of 17
artists. The playwriting process contained some elements of nov-
elty, in particular with respect to the approach introduced by
Freiburg Scientific Theatre. In particular, the use of a scientific
literature review to support the brainstorming phase served to
implement the integration between science and art. Another
element of innovation was the use of professional performers,
instead than scientists. In parallel, this play allowed to apply an
open source robot design, building and programming for theatrical
purpose. However, the robot, built on the basis of open source and
open hardware solutions, will be reused both for didactical and
development purposes by the Order of Engineers of Turin’s
Province.
The present method should be implemented in its evaluation
phase. In particular, an appropriate assessment of perceived
authenticity and resonance by the public should be conducted.
Preserving the same focus (i.e.: robotization, AI and, eventually, also
big data), the other dimensions of sustainability should be included
as themes. Moreover, other topics should be developed, pertaining
to social sustainability. For example, human inclusion, social justice
and work. Psychological dimensions other than positive feelings
(love/altruism) should be further developed as positive descriptors
of human nature. In particular, positive ethical attitudes should be
considered as relevant.
This experience, which involved both scientists and engineers
together with professional performers, could be especially valuable
to transfer this playwriting technique into the domains of new
education and communication projects centred on a potential
future “Society 5.0”. The application and integration of different
performing arts, as well as other artistic media, could support such
a dialogue and public reflection.
Acknowledgements
This theatre play has been realized thanks to the financial
support of the Order of Engineers of Turin’s Province. The theatre
play writing and its representation was realized thanks to the active
work of the following persons: Luca Gioppo (Order of Engineers of
Turin’s Province); Davide Allena (director of the theatre play);
Francesca Puopolo and Nathalie Bernardi (text writers e the former
was also the Tin Woodsman voice, while the latter played also the
role of Dorothy); Golden Power (acrobatic duo); Alberto Giorgi and
Laura Giorgi (steampunk style illusionist); Marco Casazza (envi-
ronmental physicist and violin player e sustainability-related
analysis and violin player during the performance); Paolo Mosele
(support to music composition and arrangements); Paolo Carta
(sand drawing); Sara Renesto, Chiara Cardini and Alice Aquino
(modern dancers/illusionists); Laura Scaringella (classical dancer);
Roberta Bacciolo and Gianni Agnolon (singers); Giulio Evangelista e
Daniela Magnetti (hip-hop dancers).
Marco Casazza specifically developed the components of
research about sustainability and art-based research methods. Luca
Gioppo managed all the working process, including the group
works, as well as the components of public engagement, focusing
also on the role of enterprises social responsibility and the need of
the role of a professional guidance as third external neutral arbiter
for ethical technological design decisions.
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