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It is June 2022 and the premiere of R.U.R. Torrent of Light , a multimedia opera, in Toronto is enthralling audiences. Inspired by Karel Čapek’s play that introduced the word ‘robot’ into 20th-century vocabulary, composer Nicole Lizée and librettist and playwright Nicholas Billon have conceived a science-fiction opera for our current fascination with AI (artificial intelligence). The production by Toronto’s Tapestry Opera Theatre is in partnership with the research and creation of new technologies at the Social Body Lab and the Digital Futures Initiatives at Ontario College of Art & Design University. It has been conceived to embed technologies into the scenographic dramaturgy as projections, wearable art and spatialisation of sound and light through the costuming and neologisms in instrumentation to create a ‘unique electronica-classical sound’ of the neo-futurist worlding. After the hiatus of the last two years, this live performance highlights our growing recognition of scenographic vocabularies of programmable performance affecting behaviours, as well as expanded definitions of sound and digital integration as contemporary opera. Such interdisciplinarity has often brought the spectator into fresh relationships with opera in performance, thereby activating the event of spectatorship.
Natalie Rewa (Thu,) studied this question.