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The play introduced the word ''[[Robot]]'' which displaced older words such as "[[automaton]]" or "[[android (robot)|android]]" in languages around the world. In an article in ''[[Lidové noviny]]'' Karel Čapek named his brother [[Josef Čapek|Josef]] as the true inventor of the word.<ref>{{Cite web |url=http://capek.misto.cz/english/robot.html |title=Who did actually invent the word "robot" and what does it mean? |accessdate=2013-07-25 }}</ref> In its original Czech, ''robota'' means [[Unfree labour|forced labour]] of the kind that [[Serfdom|serfs]] had to perform on their masters' lands, and is derived from ''rab,'' meaning "slave."<ref name=dict />
The play introduced the word ''[[Robot]]'' which displaced older words such as "[[automaton]]" or "[[android (robot)|android]]" in languages around the world. In an article in ''[[Lidové noviny]]'' Karel Čapek named his brother [[Josef Čapek|Josef]] as the true inventor of the word.<ref>{{Cite web |url=http://capek.misto.cz/english/robot.html |title=Who did actually invent the word "robot" and what does it mean? |accessdate=2013-07-25 }}</ref> In its original Czech, ''robota'' means [[Unfree labour|forced labour]] of the kind that [[Serfdom|serfs]] had to perform on their masters' lands, and is derived from ''rab,'' meaning "slave."<ref name=dict />


The name ''Rossum'' is an allusion to the Czech word ''rozum,'' meaning "reason," "wisdom," "intellect" or "common-sense." {{Citation needed|reason=Who says that Rossum is anything more than just a character's name?|date=August 2012}} It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason," but all published translations to date have left the name untouched.
The name ''Rossum'' is an allusion to the Czech word ''rozum,'' meaning "reason," "wisdom," "intellect" or "common-sense."
<ref> [[Adam Roberts (British writer)|Adam Roberts]] "Introduction", to RUR & War with the Newts. London, Gollancz, 2011, ISBN 0575099453 (pp. vi-ix). </ref> It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason," but only the Majer/Porter
version translates the word as "Reason". <ref name="ik">Klíma, Ivan ,''Karel Čapek:Life and Work''. Catbird Press, 2002
ISBN 0945774532, (p. 260). </ref>


[[Isaac Asimov]], author of the [[Robot series (Asimov)|''Robot'' series]] of books and creator of the [[Three Laws of Robotics]], stated: "Capek's play is, in my own opinion, a terribly bad one, but it is immortal for that one word. It contributed the word 'robot' not only to English but, through English, to all the languages in which science fiction is now written."<ref name=AsimovVocab />
[[Isaac Asimov]], author of the [[Robot series (Asimov)|''Robot'' series]] of books and creator of the [[Three Laws of Robotics]], stated: "Capek's play is, in my own opinion, a terribly bad one, but it is immortal for that one word. It contributed the word 'robot' not only to English but, through English, to all the languages in which science fiction is now written."<ref name=AsimovVocab />

Revision as of 22:05, 6 August 2013

Template:Other uses2

R.U.R.
A scene from the play, showing three robots.
Written byKarel Čapek
Date premiered1921
Original languageCzech
GenreScience fiction

R.U.R. is a 1920 science fiction play in the Czech language by Karel Čapek. R.U.R. stands for Rossum's Universal Robots, an English phrase used as the subtitle in the Czech original.[1] It premiered in 1921 and introduced the word "robot" to the English language and to science fiction as a whole.[2]

R.U.R. quickly became famous and was influential early in the history of its publication.[3][4][5] By 1923, it had been translated into thirty languages,[3][6]

The play begins in a factory that makes artificial people, made of synthetic organic matter, called "robots." Unlike the modern usage of the term, these creatures are closer to the modern idea of cyborgs or even clones, as they can be mistaken for humans and can think for themselves. They seem happy to work for humans, although that changes, and a hostile robot rebellion leads to the extinction of the human race. Čapek later took a different approach to the same theme in War with the Newts, in which non-humans become a servant class in human society.

R.U.R is dark but not without hope, and was successful in its day in both Europe and the United States.[citation needed] John Clute has lauded R.U.R. as "a play of exorbitant wit and almost demonic energy" and lists the play as one of the "classic titles" of inter-war science fiction.[7]

Characters

A scene from the play, showing the robots in rebellion.

Parenthesis indicate differences in translations.

Humans

  • Harry Domin (Domain) — General Manager, R.U.R.
  • Fabry — Chief Engineer, R.U.R.
  • Dr. Gall — Head of the Physiological Dept, R.U.R.
  • Dr. Hellman (Hallemeier) — Psychologist-in-Chief
  • Jacob Berman (Busman) — Managing Director, R.U.R.
  • Alquist — Clerk of the Works, R.U.R.
  • Helena Glory — President of the Humanity League, daughter of President Glory
  • Emma (Nana) — Helena's maid

Robots and Robotesses

  • Marius, a Robot
  • Sulla, a Robotess
  • Radius, a Robot
  • Primus, a Robot
  • Helena, a Robotess
  • Daemon (Damon), a Robot

Plot

Poster for a stage performance of R.U.R. directed by Remo Bufano in New York, 1939, by the U.S. Works Project Administration (WPA).

Act I
Helena, the daughter of the president of a major industrial power, arrives at the island factory of Rossum's Universal Robots. She meets Domin, the General Manager of R.U.R., who tells her the history of the company. It started in 1920 when a man named Rossum came to the island to study marine biology and accidentally discovered a chemical that behaved exactly like protoplasm, except that it did not mind being knocked around. The chemical was discovered in 1932. Rossum attempted to make a dog and a man and failed. His nephew came to see him, and the two argued nonstop, largely because Old Rossum only wanted to create animals to prove that not only was God not necessary but there was no God at all, and Young Rossum only wanted to make millions. Eventually, Young Rossum locked his uncle in a laboratory to play with his monsters and mutants, while Young Rossum built factories and cranked out Robots by the thousands. By the time the play is set (in the 1950s or 1960s, presumably), Robots are cheap and available all over the world. Robots are now absolutely necessary because they allow products to be made at a fifth the previous cost. Helena meets Fabry, Dr. Gall, Alquist, Busman, and Hallemeier, and reveals she is a representative of the League of Humanity, a human rights organization that wishes to "free" the Robots. The managers of the factory find this a ridiculous proposition, viewing the Robots as any other major appliance. One of the things Helena requests is that the Robots get paid so that they can buy things they like, but the Robots do not like anything. Helena is eventually convinced that the League Of Humanity is a waste of money. Domin and Helena fall in love and are engaged to be married.

Act II
Ten years later, Helena and her nurse Nana are talking about current events—in particular the decline in human births. Helena and Domin reminisce about the day they met and summarize the last ten years of world history as shaped by the new worldwide Robot-based economy. Helena meets Dr. Gall's new Robot experiment, Radius, and Dr Gall describes his experimental Robotess, Robot Helena. Both are more advanced, fully featured versions. In secret, Helena burns the formula required to create Robots. The revolt of the Robots reaches Rossum's island as the act ends.

Act III
The characters sense that the very universality of the Robots presents a danger. Reminiscent of the Tower of Babel, the characters discuss whether creating national Robots who were unable to communicate beyond their language group would have been desirable. As Robot forces lay siege to the factory, Helena reveals she has burned the formula. The characters lament the end of humanity and defend their actions despite their imminent deaths as a direct result. Busman attempts to negotiate a peace with the Robots but is killed. Robots storm the factory and kill all the humans, except for Alquist, whom the Robots spare because they recognize that "he works with his hands like the Robots."[8]

Epilogue
Years have passed and all humans had been killed by the robot revolution except for Alquist. Alquist has been working to recreate the formula to make robots. Because he is not a scientist, he has not made any progress. He has begged the robot government to search for surviving humans, and they have done so. There are none. Officials from the robot government approach Alquist and first order and then beg him to complete the formula, even if it means he will have to kill and dissect other Robots to do so. Alquist yields, to kill and dissect, which completes the circle of violence begun in Act Two. Alquist is disgusted by it. Robots Primus and Helena develop human feelings and fall in love. Playing a hunch, Alquist threatens to dissect Primus and then Helena; each begs him to take him- or herself and spare the other. Alquist realizes that they are the new Adam and Eve, and gives charge of the world to them.

U.S. WPA Federal Theatre Project poster for the production by the Marionette Theatre, New York, 1939.

Robots

The Robots described in Čapek's play are not robots in the popularly understood, modern sense of a "mechanical device that sometimes resembles a human."[9] They are not metallic or mechanical, but rather biological entities that may be mistaken for humans. A comic scene at the beginning of the play shows Helena arguing with her future husband, Harry Domin, because she cannot believe his secretary is a robotess:

DOMIN: Sulla, let Miss Glory have a look at you.
HELENA: (stands and offers her hand) Pleased to meet you. It must be very hard for you out here, cut off from the rest of the world.
SULLA: I do not know the rest of the world Miss Glory. Please sit down.
HELENA: (sits) Where are you from?
SULLA: From here, the factory
HELENA: Oh, you were born here.
SULLA: Yes I was made here.
HELENA: (startled) What?
DOMIN: (laughing) Sulla isn't a person, Miss Glory, she's a robot.
HELENA: Oh, please forgive me ...

In a limited sense, they resemble more modern conceptions of man-made life forms, such as androids, the Replicants in Blade Runner, and the Cylons in the new Battlestar Galactica, but in Čapek's time there was no conception of modern genetic engineering (DNA's role in heredity was not confirmed until 1952). There are descriptions of kneading-troughs for robot skin, great vats for liver and brains, and a factory for producing bones. Nerve fibers, arteries, and intestines are spun on factory bobbins, while the Robots themselves are assembled like automobiles. Čapek's robots are biological machines, but they are still assembled, as opposed to grown or born.

Origin of the word

The play introduced the word Robot which displaced older words such as "automaton" or "android" in languages around the world. In an article in Lidové noviny Karel Čapek named his brother Josef as the true inventor of the word.[10] In its original Czech, robota means forced labour of the kind that serfs had to perform on their masters' lands, and is derived from rab, meaning "slave."[9]

The name Rossum is an allusion to the Czech word rozum, meaning "reason," "wisdom," "intellect" or "common-sense." [11] It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason," but only the Majer/Porter version translates the word as "Reason". [12]

Isaac Asimov, author of the Robot series of books and creator of the Three Laws of Robotics, stated: "Capek's play is, in my own opinion, a terribly bad one, but it is immortal for that one word. It contributed the word 'robot' not only to English but, through English, to all the languages in which science fiction is now written."[2]

Production history

File:Rur 1st ed 1920.jpg
Cover of the first edition of the play, in 1920.

The work was published in Prague by Aventinum in 1920, and premiered in that city in 1921. It was translated from Czech into English by Paul Selver and adapted for the English stage by Nigel Playfair. Selver's translation abridged the play and eliminated a character, a robot named "Damon".[13] In April 1923 Basil Dean produced R.U.R. for the Reandean Company at St. Martin's Theatre, London.

The play's American première was at the Garrick Theatre in New York City in October 1922, where it ran for 184 performances, a production in which Spencer Tracy and Pat O'Brien played robots in their Broadway debuts.[14] It also played in Chicago and Los Angeles during 1923.[15] In the late 1930s, the play was staged in the U.S. by the Federal Theatre Project's Marionette Theatre in New York.

In 1989, a new, unabridged translation by Claudia Novack-Jones restored the elements of the play eliminated by Selver.[13] [16] Another unabridged translation was produced by Peter Majer and Cathy Porter for Methuen Drama in 1999. [12]

Adaptations

In April 1935 was the premiere of the film "Гибель сенсации", USSR, screening of "R.U.R.". In February 1938, a thirty-five minute adaptation of a section of the play was broadcast on BBC Television – the first piece of television science-fiction ever to be broadcast.[17] In 1941 BBC radio presented a radio play version, and in 1948, another television adaptation – this time of the entire play, running to ninety minutes – was screened by the BBC. In this version Radius was played by Patrick Troughton who was later the second actor to play The Doctor in Doctor Who, None of these three productions survive in the BBC's archives. BBC Radio 3 dramatised the play again in 1989, and this version has been released commercially. The Hollywood Theater of the Ear dramatized an unabridged audio version of R.U.R. which is available on the collection 2000x: Tales of the Next Millennia,[18][19]

In March 2007, the first Hindustani version of R.U.R, translated by Shahid Anwar and directed by Dr. Faiyaz Ahmed, was performed by the students of the Jawaharlal Nehru University Drama Club and Bahroop Arts Group[20][better source needed] at Shri Ram Centre Auditorium in New Delhi, India.

In August 2010, Portuguese multi-media artist Leonel Moura's R.U.R.: The Birth of the Robot, inspired by the Capek play, was performed at Itaú Cultural in São Paulo, Brazil. It utilized actual robots on stage interacting with the human actors.[21]

An electro-rock musical, Save The Robots, written by Ed Katz, Rob Susman, George Tsalikis and Clark Render, loosely based on R.U.R., and featuring and the music of 80's rock band Hagatha, premiered at the Players Theatre in Manhattan, New York City on May 11, 2012.[22]

  • In the American science fiction television series Dollhouse, the antagonist corporation, Rossum Corp., is named after the play.[23]
  • In the Star Trek episode "Requiem for Methuselah," the android's name is Rayna Kapec (an anagram of Capek).
  • In Batman: The Animated Series, the scientist that created the HARDAC machine is named Karl Rossum. HARDAC created mechanical replicants to replace existing humans, with the ultimate goal of replacing all humans. One of the robots is seen driving a car with "RUR" as the license plate number.
  • In the 1995 science fiction series The Outer Limits, in the remake of the "I, Robot" episode from the original 1964 series, the business where the robot Adam Link is built is named "Rossum Hall Robotics."
  • The 1999 Blake's 7 radio play The Syndeton Experiment included a character named Dr. Rossum who turned humans into robots.[24]
  • In the "Fear of a Bot Planet" episode of the animated science fiction TV series Futurama, the Planet Express crew is ordered to make a delivery on a planet called "Chapek 9" which is inhabited solely by robots.

References

Notes

  1. ^ Kussi, Peter. Toward the Radical Center: A Čapek Reader. (33)
  2. ^ a b Asimov, Isaac (1979). "The Vocabulary of Science Fiction.". Asimov's Science Fiction. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help); Unknown parameter |month= ignored (help)
  3. ^ a b Voyen Koreis. "Capek's RUR". Retrieved 2013-07-23.
  4. ^ Tim Madigan (2012). "RUR or RU Ain't A Person?". Philosophy Now. Retrieved 2013-07-24. {{cite web}}: Unknown parameter |month= ignored (help)
  5. ^ Charles T. Rubin (2011). "Machine Morality and Human Responsibility". The New Atlantis. Retrieved 2013-07-24.
  6. ^ "Ottoman Turkish Translation of R.U.R. - Library Details". Retrieved 2013-07-24.Template:Tr
  7. ^ Clute, John (1995). Science Fiction: The Illustrated Encyclopedia. Dorling Kindersley. pp. 119, 214. ISBN 0751302023.
  8. ^ Capek, Karel (2001). R.U.R.. translated by Paul Selver and Nigel Playfair. Dover Publications. p. 49.
  9. ^ a b "robot - definition of robot by the Free Online Dictionary". Retrieved 2013-07-25.
  10. ^ "Who did actually invent the word "robot" and what does it mean?". Retrieved 2013-07-25.
  11. ^ Adam Roberts "Introduction", to RUR & War with the Newts. London, Gollancz, 2011, ISBN 0575099453 (pp. vi-ix).
  12. ^ a b Klíma, Ivan ,Karel Čapek:Life and Work. Catbird Press, 2002 ISBN 0945774532, (p. 260).
  13. ^ a b Abrash, Merritt (1991). "R.U.R. Restored and Reconsidered". 32 (2). Extrapolation: 185–192. {{cite journal}}: Cite journal requires |journal= (help)
  14. ^ Corbin, John (October 10, 1922). "A Czecho-Slovak Frankenstein". New York Times. p. 16/1.; ​R.U.R (1922)​ at the Internet Broadway Database
    "Spencer Tracy Biography". Biography.com. Retrieved 2013-07-26.
    Swindell, Larry. Spencer Tracy: A Biography. New American Library. pp. 40–42.
  15. ^ Butler, Sheppard (April 16, 1923). "R.U.R.: a Satiric Nightmare". Chicago Daily Tribune. p. 21.; "Rehearsals in Progress for 'R.U.R.' Opening". Los Angeles Times. November 24, 1923. p. I13.
  16. ^ Peter Kussi, ed. (1990). Toward the Radical Center: A Karel Čapek Reader. Highland Park, NJ: Catbird Press. pp. 34–109. ISBN 0945774060. {{cite book}}: Cite has empty unknown parameters: |origmonth=, |month=, |origdate=, and |coauthors= (help)
  17. ^ Telotte, J. P. (2008). The essential science fiction television reader. University Press of Kentucky. p. 210. ISBN 0-8131-2492-1.
  18. ^ "2000x: Tales of the Next Millennia". Retrieved 2013-07-29.
  19. ^ "2000X: Tales of the Next Millennia". Amazon.com. Retrieved 2013-07-29.
  20. ^ Bahroop Arts Group
  21. ^ "Itaú Cultural: Emoção Art.ficial "2010 Schedule"". Retrieved 2013-08-06.
  22. ^ "Save the Robots: A Westport playwright/producer rocks with metal people". Retrieved 2013-08-06.
  23. ^ Dollhouse:"Getting Closer" between 41:52 and 42:45
  24. ^ Review of Syndeton Experiment, by Chris Orton at Judith Proctor's Blake's 7 site
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