God sex machine

A show recommended since the 18s.

Reversing the myth of Pygmalion and a performative chorus of actresses. The performance of the artistic duo Agnieszka Jakimiak and Mateusz Atman is their author's adaptation of Ewa Stusińska's reportage entitled Deus sex machina. Will robots love us?

The show consists of two parts. The first is a combination of an intimate psychological drama with an unusual love story — in this case, it is the sculpture that brings the sculptor to life. But will it fill the void in his life?

After the break, seven WTW actresses appear on stage in the company of Emma - a sex girl endowed with artificial intelligence. This part — similar to a performance and a visual essay — is filled with expressive choreographic and musical accents.

Deus sex machina is a show in which the creators tackle conventional notions of female sexuality and question how new technologies affect human intimacy.

Warnings:

in the performance there are scenes of nudity and of a sexual nature.

In the performance, profanity appears and controversial topics are touched upon.

The show is recommended for viewers over 18 years of age.

Mateusz Atman (adaptation, direction, scenography):

The title Deus sex machina refers to an ancient plot trick, but this time the hopeless situation is saved by sexual intercourse. Ewa Stusińska goes on, asks: “Will robots love us?” Can they be the answer to human loneliness and emptiness?

One of the protagonists of the book is Emma, a sex-robot accompanying Gosi Wojas in her artistic career in the USA. After years of gallery projects, Gosia decided to say goodbye to Emma. For the first time in the history of the Polish sex-robot theater will perform in Wrocław.

Our plays are created in a unique way, because together with Agnieszka we write and direct them together. At Deus sex machina we wanted to see to what extent an author's gesture is possible in this co-authored model. Therefore, this time viewers for the price of one ticket will see two performances. Both parts of the evening are inspired by true stories.

The heroine of the first part, which I am working on, is also a sexgirl, Agata. Agatha tries to help a human companion in a moment of despair, tries to restore his desire to live, awaken feelings. This is the reversal of the myth of Pygmalion, or the story in which it is the sculpture that brings the sculptor to life. Can an “empty” doll fill the void in life?

It is a psychological drama, but also a story of an unusual love relationship. The staging is also unusual, in which I am the author of the direction and script, but also the movement and the scenography. The couple is immersed in a claustrophobic transition room, a diorama flooded with monochrome pink, an installation associated with a dollhouse. The world I invite you to is inspired by the trend of slow art. It is a conscious limitation of stage means and a slowing down of the rhythm to create space for mindfulness, contemplation and a deeper experience of the viewer.

We are at a turning point. I read about a new study in which GPT-4.5 passed the Turing test at 73% — participants were more likely to recognize chats as human than actual human callers. Clarke's third law states that “any sufficiently advanced technology is indistinguishable from magic.” I would like the audience to experience a little bit of that magic.