In this work, we introduce Ropera, a non-humanoid robotic arm performer designed to explore how structured choreography and notation systems can expand the expressive potential of robotic performance. Moving beyond the anthropomorphic paradigm, Ropera uses motion abstraction, geometry-based pose design, and light painting to convey the unique aesthetic possibilities of non-humanoid robots. By integrating principles from Chinese Kunqu Opera, we establish a model for adapting codified human movement into joint space control for six-axis robotic arms, highlighting the synergy between cultural performance traditions and robotic motion design.
Our research demonstrates a notation-based approach that bridges pose definition, programming methodology, and lighting visualization. We developed a new movement notation tailored to the robotic arm’s constraints, enabling systematic mapping of Kunqu’s gestural vocabulary to servo angles and transitions. Through iterative testing, we refined strategies for timing, velocity control, and pause integration to capture stylistic nuances such as the fluid hand gestures and rhythmic accents of The Peony Pavilion. The resulting robotic performance is documented and visualized with fiber-optic sleeves that accentuate spatio-temporal aspects, underlining the arm’s capacity for artistic expression.
By positioning Ropera as a starting point, we aim to inspire a broader discourse on non-humanoid robot performance. While humanoid robots have been extensively studied in stage productions, our work focuses on the novel design considerations required to unlock non-humanoid robots’ expressive capabilities—from choreography notation to multi-robot synchronization. Ultimately, this research contends that non-anthropomorphic forms can foster new avenues of artistic creativity, contributing valuable methodologies and insights to the intersection of robotics, performance, and cultural heritage.
