R U R Rossum S Universal Robots
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R.U.R.
Must-read play looks to a future in which all workers are automatons. They revolt when they acquire souls (i.e., when they gain the ability to hate) and the resulting catastrophe make for a powerful theatrical experience.
Automata and Mimesis on the Stage of Theatre History
The automaton, known today as the robot, can be seen as a metaphor for the historical period in which it is explored. Chapters include examinations of Iconoclasm's fear that art might surpass nature, the Cartesian mind/body divide, automata as objects of courtly desire, the uncanny Olympia, and the revolutionary Robots in post-WWI drama.
R.U.R.
We rely on your support to help us keep producing beautiful, free, and unrestricted editions of literature for the digital age. Will you support our efforts with a donation? R.U.R., or Rossum’s Universal Robots is a play written in 1920 by Karel Čapek, a Czech writer who wrote many plays and novels, many of them with science-fiction and dystopian themes. R.U.R. is perhaps the most well-known of these works in the English-speaking world because it brought the word “robot” into the language. “Robot” is derived from the Czech word meaning “worker.” The play is set in the island headquarters of the R.U.R. corporation. The corporation has been manufacturing artificial beings which resemble humans, but who are tireless workers. They can be mass-produced in large numbers and are being adopted as workers in many countries. In the first scene of the play, they are visited by a young woman, Helena Glory, who aspires to relieve the lot of the robots, who she sees as oppressed. However, in what must be the fastest seduction scene in all drama, she is wooed and agrees to marry Harry Domin, the factory manager, who she has just met. She still however aspires to improve the life of robots and find a way to give them souls. Ultimately, however, this admirable desire leads to disaster for humankind. The play was translated into English, and slightly abridged, by Paul Selver and Nigel Playfair in 1923. This version quickly became popular with both British and American audiences and was well received by critics.