Jordan Harrison’s play Marjorie Prime (Center Theatre Group, LA, 2014), a Pulitzer Prize finalist in 2015, depicts social, medical, and therapeutic interactions between humans and machines. In contrast to other contemporary plays, Harrison’s script does not suggest experimenting with real robots on stage, but follows the traditional approach of having actors pretend that they are machines or, more specifically, projections steered by an artificial intelligence, so-called Primes. The play carefully avoids the “uncanny valley” (Mori) and spares the audience visceral reactions to the machines, instead focusing on philosophical questions about identity, memory, language, and humanness. The article will analyse the use of language as a theatrical code for machineness and explore the implications of language as a criterion for machineness and humanness respectively. Marjorie Prime will be contextualized with the Turing test, especially from the angle of disability studies, to show how the play can be read as a critique of humanism and a plea for posthumanism.

中文翻译：

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与机器对话：乔丹·哈里森（Jordan Harrison）的玛乔莉（Marjorie）Prime中的模拟对话和图灵问题

乔丹·哈里森（Jordan Harrison）的戏剧《马乔里·普里姆（Marjorie Prime）》（洛杉矶中央剧院集团，2014年）是2015年普利策奖的决赛入围者，描述了人与机器之间的社会，医学和治疗相互作用。与其他当代戏剧相反，哈里森的剧本不建议在舞台上试验真实的机器人，而是遵循传统的方法，即让演员假装自己是机器，或更具体地说，是由人工智能（所谓的Primes）操纵的投影。剧本小心翼翼地避开了“森谷”（Mori），并避免了观众对机器的内在反应，而是将注意力集中在有关身份，记忆，语言和人性的哲学问题上。本文将分析语言作为机器语言的戏剧代码的用途，并分别探讨语言作为机器性和人性标准的含义。Marjorie Prime将通过图灵测试进行情境化，尤其是从残疾研究的角度出发，以展示该剧本如何被解读为对人文主义的批判和对后人文主义的诉求。