The production from Blanka Luňáková, both the director and the author, drew inspiration from traditional folk puppetry and brings to the stage a famous and celebrated character: Kašpar.
Everybody knows that wherever Kašpar goes, fun is sure to follow. Because since he is not only a merry little lad, but also a fox and a joker, there is no doubt that there will be more than just fun. This time he is heading to the forest in order to offer loads of enticing entertainment to the animals living there. Brtnik the bear is happy to finally have a friend, All the animals are happy and having fun. Nobody suspects that Kašpar may not have the purest of intentions…
It is said that you should quit while you’re ahead, but the rabbit, fox, mole and other high-spirited denizens of the forest want none of that, and they get into quite a mess. But it is also said that every cloud has a silver lining. Thanks to their adventures, the animals come to understand that not everything may be as it seems at first, and that a true friend is one who truly cares about you.
The stage design by Irena Marečková is based on classic puppet comedies, enabling the actors and their puppets to really express themselves in what may appear to be an incompatible manner: both tough and tender at the same time. (more…)
One hundred years ago, Karel Čapek, in his play R.U.R., played with the idea of a human invention similar to a biological machine, whose task is to replace human work. This is also where the name for the autonomous machine, the robot, found its way into all world languages. These days the idea of an artificially-created intelligence is not just a theme for sci-fi, but a real phenomenon, whose development is advancing faster and faster. At the same time, we are witnesses to how the character of human work is changing, a significant part of which looks like it will be expendable in the future. But if human work would be replaced entirely, what would be the effect on mankind itself? What would actually be left of humanity? Wouldn’t mankind lose one of the basic meanings of its existence?
It’s fascinating how many questions posed by Čapek a hundred years ago not only apply to our present day, but especially to the near future, in which the generation on which our production primarily focuses will grow up and live. R.U.R. 2.0 is not an interpretation of the original play, but plays out its central theme in brand new contexts. For this reason, we created a laboratory in Studio Drak Theatre, where you can witness a unique experiment. Its goal is nothing less than trying to bring Čapek’s robots back to life using means typical for Drak creativity, and to once again answer the questions posed in his work.