Karel Čapek’s R.U.R. (Rossum’s Universal Robots) is the seminal science fiction drama that gave the world the very word “robot.” First performed in 1921, this visionary play confronts the paradox of technological progress and the moral dilemmas it creates. In an age of artificial intelligence, automation, and existential crisis, R.U.R. remains uncannily prescient — both a theatrical marvel and a chilling prophecy.
Set in a futuristic factory that mass-produces artificial beings designed to serve humanity, the play follows Helena Glory, an idealistic humanitarian, and Harry Domin, the ambitious director of Rossum’s factory. Their conversations expose the ethical blindness of industrial advancement: the robots — emotionless, efficient, soul-less — are tools of convenience that soon become a threat to their creators.
This 2025 edition, edited by Jack Monro and presented by Glagoslav Publications, restores the original English translation by Nigel Playfair and Paul Selver. It features newly annotated footnotes, an introduction situating Čapek’s work within both Czech modernism and global techno-philosophy, and a suite of archival illustrations. The text is presented with full respect to its original theatrical cadence, making it suitable for both academic study and performance.
At once a parable and a political statement, R.U.R. is not simply about robots — it is about what we lose when we outsource humanity itself. This definitive edition invites a new generation of readers to rediscover the origin of one of science fiction’s greatest ideas.
Author
Marjory Scott Wardrop (1869–1909) was a pioneering British scholar and translator who opened a cultural bridge between Georgia and the English-speaking world. Born in London and deeply inspired by her brother Sir Oliver Wardrop’s travels, she taught herself Georgian—a language then virtually unknown in Britain—and immersed herself in its literature.
Her Georgian Folk Tales (1894), published as the first volume of the prestigious Grimm Library, introduced Western readers to the rich oral traditions of Georgia. But it was her translation of the 12th-century epic The Knight in the Panther’s Skin by Shota Rustaveli—published posthumously in 1912—that remains her crowning achievement, praised for both literary grace and linguistic fidelity.
Despite limited academic opportunities for women of her time, Marjory combined sharp intellect with deep cultural empathy. She travelled to Georgia, co-founded the Society for the Promotion of the Study of Georgian Language and Literature, and laid the foundation for Georgian studies in Britain. Her legacy endures through the Marjory Wardrop Fund at Oxford and the continuing reverence of her name in Georgia.
Translators
Sir Nigel Playfair (1874–1934) was an influential English actor-manager, director, and producer who left an indelible mark on the London stage. Educated at Harrow and University College, Oxford, he was called to the Bar but soon abandoned law for the theatre. His most celebrated work was as the manager of the Lyric Theatre, Hammersmith, from 1918 to 1932, where he revived classics like The Beggar’s Opera and The Way of the World with a fresh, anti-realist style that captivated audiences. A champion of innovative drama, Playfair was instrumental in bringing continental works to the British public. He directed the first English-language production of Čapek’s R.U.R. in 1923, and his involvement in this translation helped introduce one of the 20th century’s most important playwrights to the English-speaking world.
Paul Selver (1888–1970) was a prolific British writer and translator, renowned for his masterful translations from Czech and other Slavic languages. A key figure in introducing Czech literature to the Anglosphere, Selver was a close contemporary and the principal English translator of Karel Čapek’s work. His linguistic skill and literary sensitivity allowed him to capture the unique cadence, wit, and philosophical depth of Čapek’s writing, making seminal works like R.U.R., The Insect Play, and War with the Newts accessible to a global audience. Beyond his work with Čapek, Selver was an accomplished poet, novelist, and lexicographer. His translations remain the foundation upon which the English-language reputation of many Czech literary giants was built.
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