@inproceedings {pub-5730,
	title = {Role-Play Methods to Explore Social Dynamics in Human-Robot Groups},
	author = {Judith D{\"o}rrenb{\"a}cher AND Tuan Vu Pham AND Thomas H Weisswange AND Marc Hassenzahl},
	year = {2024},
	abstract = {Within the realm of Human-Human-Robot Interaction (HHRI), it has been discussed that robots interacting in groups of people encounter a level of social complexity that can take on an unpredictable life of its own [5,8]. Consequently, we are interested in group-level phenomena. In particular, we investigate socio-emotional aspects (e.g., identity formation [Forsyth \& Elliott, 1999], group moods [Kelly \& Barsade, 2001], social influence, and group cohesion) that involve the perceptions, actions and relationships of multiple individuals. 
 Theatre methods and role-play seem ideally suited to explore these dynamics between diverse human and nonhuman stakeholders, as they facilitate an embodied understanding of social complexity from various perspectives      . So far, Theater in Human-Robot Interaction (THRI) [2,9] typically involves acting out scenarios on stage in front of an audience [1,2,6,7]. In this workshop, we introduce and compare two of our own theater methods for exploring HHRI that are not about staging a robot, but rather focus on shifting participants{\textquoteright} perspectives through role-play.
Fictional documentaries [4] are videos depicting experiences with fictitious robots. In this method, participants assume the roles of various stakeholders and improvise corresponding responses to interview questions. For instance, in a documentary about a robot designed to mediate conflicts in public transportation, an actor taking on the role of an introverted person talks about consistently delegating conflict resolution tasks to the robot to avoid confrontation. They report that the robot, with its neutral demeanor   , successfully persuaded another passenger to lower the volume of their music (see Figure 1). Further, a fictional technology skeptic expresses concerns about humans losing their feeling of responsibility. Both the real person (the participant engaging in the method) and their imagined persona (the role they played) inform the content of the fictional documentaries.
Techno-Mimesis [3] enables robot designers to perceive and enact a use case from a robot{\textquoteright}s perspective. Using our prostheses (see Figure 2 and 3), designers transform their bodies into hybrids: part human, part robot. For example, they may simulate the visual and movement experiences of a cleaning robot in a public space, all while retaining human traits, like biases. The transformation creates an insightful comparative {\textquotedblleft}flip-flop-effect{\textquotedblright}, enabling designers to experience with their own body the advantages and disadvantages of being a robot. For instance, they may come to the realization that robots lacking visual perception prevent humans to feel discriminated. This would prompt future designers to reconsider equipping robots with cameras capable of identifying people{\textquoteright}s genders   .
Both methods rely on role play, allowing participants to simultaneously inhabit their own identities while embodying others. In case of fictional documentaries, role-playing facilitates the exploration of diverse human perspectives and opinions on fictional scenarios, thereby visualizing social complexity and sparking creative speculation (e.g., {\textquotedblleft}How would my grandma like this robot?{\textquotedblright}). In case of techno-mimesis role-playing offers an even more unfamiliar perspective (e.g., {\textquotedblleft}How would a cleaning robot experience a crowd of women standing in its way?{\textquotedblright}). By shifting participants{\textquoteright} perspective, both methods unveil what we term {\textquotedblleft}robotic superpowers{\textquotedblright} [10], i.e., unique social qualities of robots, such as being {\textquotedblleft}endlessly patient{\textquotedblright}, {\textquotedblleft}never embarrassed{\textquotedblright}, {\textquotedblleft}always objective{\textquotedblright}. 
Neither method involves the use of actual robots. The robots exist due to the roleplay only. They are either subject of discussion existing solely in the participant{\textquoteright}s imagination (fictional documentaries), or they exist as a physical imperfect copy enacted by humans (techno-mimesis).  Furthermore, neither method adheres to a strict separation between stage and audience; the actors themselves serve as observers and share insights from their embodied experiences.},
	publisher = {https://hoomansamani.com/creative-robotics/creative-robotic-theatre/creative-robotics-theatre-dis-24/},
	booktitle = {ACM Conference on Designing Interactive Systems (DIS 2024): Workshop on Creative Robotics Theatre},
	city = {Copenhagen, Denmark}
}