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physical into digital man. The doubts he harbours
are perhaps the final thing that links his mind to the essence of human existence, which he voluntarily renounces. Yet it may not be the case, and the taking of the decision will be an evolutionary leap leading to the rise of new humanity.” Experimenting with augmented reality and applying motion-capture technology, Robot Radius will be performed solo by the mime, choreographer and director Radim Vizváry. In January 2021, he was appointed artistic director of the Laterna Magika ensemble. His on-stage movements, performing the Robot, transfer to the screen in real time via sensors fixed on his body, allowing him to directly manipulate the picture. Guitarist Michal Pavlíček’s live accompaniment is also interactive, triggering or changing the images that have been created. The screenplay and stage direction is by Miřenka Čechová, costumes are by Marek Cpin, music and sound design are by Michal Pavlíček & Martin Tvrdý, visual dramaturgy is by Amador Artiga and the digital technology is controlled by Jan Hladil & František Pecháček. Robot Radius was created in collaboration with the Office of the Commissioner General for the Participation of the Czech Republic in EXPO 2020 in Dubai. Vizváry was asked to adapt Čapek’s play R.U.R. for two reasons. The first was that 2021 marked the centenary of the drama’s premiere in Prague; the second was that mime removed language barriers. This fascinating production, based on a play that was seen in Dublin nearly one hundred years ago, is well worth witnessing and poses questions that we all need to consider as we move into an uncertain future for personal freedom and independent thinking. four years later with exceptional grades. He attended the Friedrich Wilhelm University in Berlin, the Sorbonne in Paris and the Charles University in Prague, graduating in 1915 as a Master of Philosophy. In 1917, Čapek joined the editorial board of the Narod (Nation) magazine, shortly after which he took up an editorship of the cultural section of the Narodni listy (the National paper), and the startup satirical weekly Neboja (The Unafraid). In the summer of 1920, Čapek published his first important work, the play R.U.R. - Rossumovi Univerzální Roboti / Rossum’s Universal Robots. It was in this work that the now-popular word ’robot’ was first coined. Throughout the 1920s, he developed a strong aversion to ultra-nationalism and totalitarianism, expressing his opposition to these movements through politically-influenced works, including Ze Života Hmyzu (Pictures from the Insects’ Life) and Krakatit, both from 1922, the latter predicting the development of nuclear weaponry. During the 1930s, Čapek’s writings focussed on the rise of fascist ideologies and the unwelcome advent of national dictatorships. His Talks with T. G. Masaryk (Masaryk was the first President of Czechoslovakia) and his anti-Nazi plays Bílá nemoc (The White Disease) from 1937 and Matka (The Mother), from 1938, were extremely popular. Despite being labelled by the Nazi Gestapo as Czechoslovakia’s “public enemy number two” he refused to leave his homeland. He died of pneumonia on Christmas Day of 1938. R.U.R. – Rossumovi Univerzální Roboti / Rossum’s Universal Robots had its Irish premier on the 1st May 1929, when it was presented by the Gate Theatre Company on the Peacock Theatre stage of the Abbey Theatre, and was successfully revived by the company in 1931. Today, Čapek is considered one of the pioneers of European political science-fiction and a forerunner to authors such as George Orwell and Ray Bradbury and film makers such as Fritz Lang, especially for the dystopian machine-age depicted in the latter’s ‘Metropolis’ of 1923. Echoes of his warnings regarding the uncontrollable development of technology can be seen in films such as Terminator, 2001 – A Space Odyssey, I, Robot and Blade Runner. In relation to Robot Radius, a succinct description of the company’s intent reads as follows: “The legacy of the great writer and humanist is brought to life on our stage through the prism of 21st century artists. Life on Earth is all but extinct and the planet is now run by abiotic technologies. One last person has survived – a scientist, who is to complete the transformation from Robot Radius and In Our Hands The Helix, Dublin City University, Glasnevin, Saturday 8th November. Doors: 7pm. thehelix.ie In Our Hands For the second of the two Laterna Magika presentations, renowned Australian director and choreographer Darcy Grant leads an international team of dancers and performers that includes Cécile Da Costa, Zhilee-Julie Goetzová, Vanda Hejnová, Eliška Hulínská, Toman Equilibre, Jindřich Panský, Matyáš Ramba, Matěj Srovnal and Adam Holub. In Our Hands premiered at the National Theatre in Prague on the 12th December 2024. This very new work reflects the current artistic concerns of the company and enhances its repertoire and its reputation through its collaboration with internationally renowned artists. The statement that accompanies the production outlines its objectives: “What do we really have in our hands? Whether tender in a loving embrace, skillful in planting flowers or strong in a gesture of power, it is the hands that transform human thoughts into actions and ideas into works of art. In our fingertips and palms we thus hold the power to affect and change the state of affairs, our surroundings, and even the world. Yet, what form do we actually shape the world into? In Our Hands is an accolade to non-verbal communication as the key to understanding the world and ourselves. The dynamic fusion of physical theatre, acrobatics, parkour, and live music invites the audience on a journey where each and every gesture becomes a message and an instigation to take a fresh look at what we really have in our hands.” 22