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How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
Penguins Already Dealing With Injury Concerns
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Maple Leafs Already Dealing With Mystery Injury
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Speaking to reporters ahead of Saturday's practice, Philadelphia Eagles offensive tackle Lane Johnson announced that the 2026 season will likely be his final year in the NFL. Johnson recently made his return to the team after missing four straight practices, dealing with a personal matter. Johnson said that as he is getting older, with his kids and parents aging, his priorities are changing.
Seahawks' Jadarian Price: Dealing with lower-body soreness
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In his letter, John thanked the Yankees and the Steinbrenner family for "giving me this opportunity to say goodbye to everyone.”
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49ers already dealing with staggering injury totals during training camp
49ers defensive lineman Sam Okuayinonu went down with an injury during training camp on Wednesday, continuing a brutal summer in San Fran.
Packers dealt two more injuries at tight end position
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Yankees news: New York still in on Goodman, Ward
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The tangled financial web at the heart of Reform UK
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Yankees Mailbag: Final speculation on deadline dealing
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Dodger notes: Shohei Ohtani, Edwin Diaz
T-minus four days until the trade deadline, and of course all of the conversation is revolving around who Tarik Skubal would be traded to, if he is, and will it be the Dodgers. The conversation has ramped up with Shohei Ohtani revealing that he is dealing with a biceps issue. Ken Rosenthal of The Athletic […]
After Hobbes vs Rousseau: Politics must move beyond human nature
Since the great debate between Hobbes and Rousseau, our political theory has been organised around a single question: is human nature essentially good or essentially corrupt? Graham Harman, the philosopher behind object-oriented ontology, argues that this is simply the wrong question to be asking. The real forces governing our collective fate - climate change, artificial intelligence, geography, and pandemics - are non-human; therefore, questions about human nature are not the central ones. Instead, Harman proposes a politics reorganised around our relationship to non-human objects and environments, in which quasi-government institutions incentivise and deter actions with the aim of extending the survival of the human race. “It is easier to imagine the end of the world than the end of capitalism.” This has become one of the most popular phrases among twenty-first-century intellectuals. Often misattributed to Fredric Jameson, it has been warmly embraced by such influential authors as Slavoj Žižek and the tragically departed Mark Fisher, and has fueled the notion that the major problem with the political Left is that it simply needs to become more speculative and creative. Naturally, this is never a bad idea in any human pursuit. But what if the political distinction between Left, Right, and Center itself results from a failure of imagination? SUGGESTED READING Hobbes vs Rousseau: are we inherently evil? By Robin Douglass This particular division has been with us only since the summer of 1789. During the simmering prelude to the French Revolution, it referred originally to the physical position in the National Assembly of radical figures on one side and loyal monarchists on the other. These positions are linked with two entirely different camps of modern political theory. On the Left we find a series of authors ranging from the moderate (Locke) to the supercharged (Rousseau) to the truly radical (Marx), all of them contending that exploitation of the many by the few justifies revolutionary overthrow of the existing order. On the Right they are countered by the likes of Machiavelli, Hobbes, and Schmitt, a group of thinkers convinced that corrupt human nature can be tamed only by force. In the words of the Nazi supporter Schmitt: “One could test all theories of nature and state and political ideas according to their anthropology and classify these as to whether they consciously or unconsciously presuppose [humans] to be by nature evil or by nature good.” This is the division we continue to face today, even in the daily retail politics of Western democracies.___Our species has regularly proven itself capable of both the noblest gestures and the most scathing cruelties, making it hard to define us as essentially either emancipatory or brutal in our aims.___The most refreshing feature of David Graeber and David Wengrow’s 2021 book The Dawn of Everything: A New History of Humanity was their awareness that the forced choice between Rousseau and Hobbes (as they put it) is no longer sufficient. Our species has regularly proven itself capable of both the noblest gestures and the most scathing cruelties, making it hard to define us as essentially either emancipatory or brutal in our aims. Far from being stationed “beyond good and evil,” we seem to be fully entangled with both. We are not naturally good or evil, Graeber and Wengrow contend, but naturally experimental and imaginative. They rest their case on the archaeological record, which seems to bear witness to numerous episodes of seasonally shifting governments and festivals, which vacillate in the same society (even in the same year) between the egalitarian and the dictatorial. Such praise of political experiment makes a good fit with the generally anarchist position defended by these authors. Yet it is also what I find most disappointing in their position. Although they are right that the forced choice between Hobbes and Rousseau falls short of what our new situation requires, the authors simply replace it with praise for the human being as a political tinkerer and performer. In other words, they give us just another theory of human nature, one that would not have been out of place in the sixteenth or seventeenth century. What other options might we have?___The time is ripe for a retheorization of politics on the basis of something other than human nature… We are not just alienated and limited by objects, but also empowered and unleashed by them___One fresh approach would be to treat politics within a broader framework than human nature, given that the polis does not exist in a vacuum filled exclusively with people. When Bruno Latour went to observe the baboons of Kenya with the San Diego anthropologist Shirley Strum, they jointly concluded that these primates were more socially interdependent than our own species. Each baboon is so reliant on the dynamics of the group that they find themselves locked into constant surveillance of their potentially dangerous peers. The group structure turns out to be inherently volatile. Humans, by contrast, are able to stabilize their societies to a large degree through the mediation of inanimate objects. Although one’s position in society may seem to fluctuate over time, considerable stability is produced through such items as apartment keys, wedding rings, and identification cards, all of them serving to secure us a place distinct from that of our fellows. The Italian philosopher Maurizio Ferraris has written at length about the crucial role of documents in establishing social relations, making him a hero among notaries in his country. Proper names and license plates cement our position amidst other humans, as do symbolic achievements such as graduation from a top university or distinguished wartime service with its various medals and ribbons. None of this is found among baboons, despite their closeness to us on the evolutionary tree: after all, we did share a common ancestor just 25 to 30 million years ago. SUGGESTED VIEWING The goodness paradox With Richard Wrangham The time is ripe for a retheorization of politics on the basis of something other than human nature, whether understood in the manner of the Left or of the Right. We are not just alienated and limited by objects, but also empowered and unleashed by them. But initially, it is true, we face non-human things primarily in the form of constraints. It would be difficult, perhaps impossible, to form a human civilization underwater, deep underground, atop Mount Everest, or in outer space. Human dependence on the non-social background takes on subtler form in discussions of political geography, especially unloved on the more idealistic Left. Consider the luckless position of Poland during World War II, sandwiched between Hitler on one side and Stalin on the other. By contrast, note the good fortune of the United States in not having a military peer positioned on any land border. Anglo-American geopolitics, since the writings of the American naval commander Alfred Thayer Mahan and the British geographer Sir Halford Mackinder, has been wedded to the notion that one or more liberal offshore naval powers should prevent any authoritarian “heartland” regime from gaining effective control of Eurasia. That remains the case whether the opponent is the impatient Napoleon, the swashbuckling German Kaiser, the villainous Hitler, the murderous Stalin, or the industrial juggernaut Chinese. In their current Foreign Affairs article “Heartland vs. Rimland,” Michael Beckley and Hal Brands analyze the current and coming state of the world on the basis of these same rather durable principles. In recent years a similar outlook has been embraced, in inverted form, by the Putin-loving Russian philosopher Aleksandr Dugin, an icon of the Rightist intellectual underworld. For Dugin, the Anglo-Saxons are an evil force bent on destroying the spiritually superior people of the land: much like Athens in its failed war with Sparta, or Carthage in its eventual collapse against Rome. But the shared notion on both sides is that any strategy that fails to take geography into account is likely to end up as a defeated form of excessive optimism.___When dealing with environmental degradation, then, we are doing business with forces that promise dire effects on our species as a whole.___More striking for us today than geography is the non-human object called climate, which threatens rimland and heartland equally. Even if we contend that humans are one hundred percent responsible for triggering the climate crisis, it remains non-human in the sense of being an independent force beyond our effective control. In a major work published just before his death in 2002, The Structure of Evolutionary Theory, the American paleontologist Stephen Jay Gould noted the tendency of evolutionary theorists to focus too closely on the fate of individuals in view of their successful or failed adaptation to circumstances. With climate change, however, we confront a force that goes well beyond the scope of any individual life. Whereas Richard Dawkins extended evolutionary questions downward from individuals to the sub-individual gene, Gould pushed it upward, speaking of entire species or clades as impacted by environmental change. The asteroid that struck the Yucatán 66 million years ago is only the most famous example of this sort. In the wake of that catastrophe, large animals needing abundant supplies of food were at a fatal disadvantage by contrast with the smaller birds and mammals of the planet. When dealing with environmental degradation, then, we are doing business with forces that promise dire effects on our species as a whole. The effect is to shift our attention away from individual beings towards the survival of the group.In the United States in particular, the COVID-19 pandemic sparked considerable backlash among those who asserted a nearly absolute degree of individual freedom. In California I encountered those who demanded that their businesses be allowed to reopen, that it was enough to cover their mouths but not their noses, or that they should have the right to enter any public area despite refusing vaccination. Yet public health is probably the clearest argument against libertarianism, which often merely asserts the autonomy of individuals against any claims of the commons. In normal times the individual is worth defending; under conditions that threaten the survival of part or all of our species, compulsion may be our only resort, as with perfectly reasonable blackouts and rations in wartime. To rebuild human society under the constraints of climate change will be one of the great challenges of the century to come, as will our improvised grappling with artificial intelligence. Such phenomena pose existential risks for humanity, and leave far less room for tolerance of individual brattiness. Cases are mounting of devastating wildfires caused by arson. Recently it was reported that there is even a website where one can bet on the location of coming wildfires, raising the specter of deliberate blazes set to collect on wagers. The death penalty has steadily lost support in a world where many stress the infinite value of human life. But if we focus instead on entire ecosystems, those who purposely burn the forests may begin to look worse than serial murderers.___The politics of the future may be splintered by disagreement over such topics as how to manage our environing background and how to permit or restrict the entry of new objects into the political sphere.___So far I have spoken of force, authority, and punishment: measures sure to have greater appeal to those who identify with what we know as the Right. But other implications of the post-anthropocentric world are likely to have different backers. If non-human objects are seen as structuring political space, it stands to reason that they can no longer be introduced solely by the pace of technical breakthrough. Fields ranging from cybernetics to energy will demand increased politicization once they are reconceived not just as products of individual human investment, but as renovations of collective political geography. This need not involve world government, with its inherent risk of tyranny, but may involve quasi-governmental enforcers of prestige along the lines of a less corrupt FIFA or International Olympic Committee, punishing deviant states not with violence but with less tangible incentives.Politics will never lose its historic links with conflict and faction. But rather than factions aligned by differing theories of human nature, the politics of the future may be splintered by disagreement over such topics as how to manage our environing background and how to permit or restrict the entry of new objects into the political sphere. This will prove just as incommensurable with the modern Left/Right spectrum as a globe is with a two-dimensional map.