Machinarium

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Machinarium
The main inspiration for the performance comes from the homonymous Czech computer game – Machinarium. It is one of the most selling and winning games, created in the Amanita Design Studio. Little Robot wakes up lying on a dump outside the Robot City. He doesn't remember what happened to him and how he came there. While walking back to the city, his memory suddenly returns: there was a putsch and the power in the city was taken over by a gang of malicious robots. During the coup d’etat he lost his consciousness and was therefore thrown away as refuse. Little Robot decides to save the city, its inhabitants and above all his girlfriend. If a little, plain robot, lacking any special properties, characteristic for today's heroes, is capable of saving his people from the evil gang, than everybody can become a hero. Although he is tiny, physically weak and of average appearance, nothing of that really matters – what really counts is his courage.
The authors of this performance were inspired by the world of the metallic dump, mechanical and electrical toys, old computer games and personal computers. The puppet performance will be fitted into an inventor's laboratory, in which the puppets will be made out of metallic and electrical devices. Children will assist the puppeteers in controlling different mechanisms, solving some logical riddles as well as in running some laboratory experiments. The performance will thus actively take the young viewers to the world of mechanics, electronics and robotics.

Zoran Petrovič completed his master's degree in direction at the DAMU Theatre Academy in Prague - course Alternative and Puppet Theatre. Among many other activities, he also leads the Moment Society, dealing with the development of independent theatre and the Intimate Stage – a space for modern performance arts. 

PREMIERE:
April 2017, Stage under the Stars LGL
Director: Zoran Petrović
Author: Based on the computer game Machinarium
Visual Design (based on the motifs by Studio Amanita): Marianna Stránská
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Kritike
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