In this paper, we propose theatre-in-the-loop, a framework for developing expressive robot behaviours tailored to artistic performance through a director-guided puppeteering workflow. Leveraging theatrical methods, we use narrative objectives to direct a puppeteer in generating improvised robotic gestures that convey specific emotions. These improvisations are captured and curated to build a dataset of reusable movement templates for standalone playback in future autonomous performances. Initial trials demonstrate the feasibility of this approach, illustrating how the workflow enables precise sculpting of robotic gestures into coherent emotional arcs while revealing challenges posed by the robot's mechanical constraints. We argue that this practice-led framework provides a model for interdisciplinary teams creating socially expressive robot behaviours, contributing to (1) theatre as an interactive training ground for human-robot interaction and (2) co-creation methodologies between humans and machines.

Gestures are an expressive input modality for controlling multiple robots, but their use is often limited by rigid mappings and recognition constraints. To move beyond these limitations, we propose roleplaying metaphors as a scaffold for designing richer interactions. By introducing three roles: Director, Puppeteer, and Wizard, we demonstrate how narrative framing can guide the creation of diverse gesture sets and interaction styles. These roles enable a variety of scenarios, showing how roleplay can unlock new possibilities for multi-robot systems. Our approach emphasizes creativity, expressiveness, and intuitiveness as key elements for future human-robot interaction design.

Legged robots have achieved impressive feats in dynamic locomotion in challenging unstructured terrain. However, in entertainment applications, the design and control of these robots face additional challenges in appealing to human audiences. This work aims to unify expressive, artist-directed motions and robust dynamic mobility for legged robots. To this end, we introduce a new bipedal robot, designed with a focus on character-driven mechanical features. We present a reinforcement learning-based control architecture to robustly execute artistic motions conditioned on command signals. During runtime, these command signals are generated by an animation engine which composes and blends between multiple animation sources. Finally, an intuitive operator interface enables real-time show performances with the robot. The complete system results in a believable robotic character, and paves the way for enhanced human-robot engagement in various contexts, in entertainment robotics and beyond.

Whole-body control for humanoids is challenging due to the high-dimensional nature of the problem, coupled with the inherent instability of a bipedal morphology. Learning from visual observations further exacerbates this difficulty. In this work, we explore highly data-driven approaches to visual whole-body humanoid control based on reinforcement learning, without any simplifying assumptions, reward design, or skill primitives. Specifically, we propose a hierarchical world model in which a high-level agent generates commands based on visual observations for a low-level agent to execute, both of which are trained with rewards. Our approach produces highly performant control policies in 8 tasks with a simulated 56-DoF humanoid, while synthesizing motions that are broadly preferred by humans.

The second I read the script, about a robot becoming self-aware after being struck by lightning, I put it down and said: "This is a hit." It was a timeless story about an underdog, a friendship and being an outsider. It also had John Badham as director who had done Saturday Night Fever and War Games. He knew how to make a movie like this work. It felt like a piece that was going to be around a long time and I grabbed it with both hands.

If you play video games, imagine how much you sometimes empathize with the character you're controlling. You may even forget the separation between the two of you, experiencing the world as that character. Consider whether your control in these moments is different, both at a high level and in tiny movements, than what the character would do if you had simply written down a set of rules for it to act by. In that difference lies the promise of this method for developing character AI. In psychology research methodology, there's a broad consensus that if you want to know what someone would do in a situation, you don't ask them what they would do.

If you play video games, imagine how much you sometimes empathize with the character you're controlling. You may even forget the separation between the two of you, experiencing the world as that character. Consider whether your control in these moments is different, both at a high level and in tiny movements, than what the character would do if you had simply written down a set of rules for it to act by. In that difference lies the promise of this method for developing character AI. In psychology research methodology, there's a broad consensus that if you want to know what someone would do in a situation, you don't ask them what they would do.

If you play video games, imagine how much you sometimes empathize with the character you're controlling. You may even forget the separation between the two of you, experiencing the world as that character. Consider whether your control in these moments is different, both at a high level and in tiny movements, than what the character would do if you had simply written down a set of rules for it to act by. In that difference lies the promise of this method for developing character AI. In psychology research methodology, there's a broad consensus that if you want to know what someone would do in a situation, you don't ask them what they would do.