Anticipating more than a century of contemporary debate on the complicated dynamic between humanity and artificial intelligence, Karel Capek's speculative drama R.U.R. (first performed in 1921) uses the premise of a worldwide robot revolt to examine the impact of humanity's dependence on the elaborate machines it creates.

As the play opens, it is the dawn of the 21st century. Assisted by Sulla, his robot secretary, Harry Domin, the general manager of Rossum's Universal Robots (R.U.R., for short), is taking care of a backlog of correspondence. The backlog reflects the international demand for the robots the facility manufactures.

Tucked away on a tiny island, the facility uses a vast assembly line run entirely by robots to manufacture other robots. The robots appear human-like because of a revolutionary plastic that the original Dr. Rossum stumbled upon during laboratory experiments, which looks and feels like skin. In addition, the robots have simulated internal organs and reactive facial features to enhance a lifelike effect.

Helena Glory, the daughter of the President of Domin's home country, arrives on the island unannounced. Domin is certain that Helena wants to tour this unique factory and witness how these robots are assembled. "The manufacture of artificial people," he tells her, "is still a secret process."

Domin explains that robots were created solely to free humanity from manual labor. He recounts the company's origins: the elder Dr. Rossum, a marine biologist, initially aimed to create synthetic lifeforms, dreaming of becoming a modern-day creator. However, his nephew saw the commercial potential of robots and took over, building the factory to mass-produce robots for global use. These robots now underpin the world's economy, performing all forms of labor without wages or complaints, allowing humans to live free from the burden of work.

Helena meets the factory's administrators, whom she initially assumes are robots. All the men, who have worked on the island now for years without human female contact, are eager to impress Helena.

Helena reveals that she is not here representing her father but rather as leader of the Humanity League, a global advocacy foundation seeking to improve the lives of the robots by giving them a fair wage for their work. Robots should not be treated like slaves, she assures them. "So I've come to disturb your robots."

Despite her idealism and passion, which the administrators find appealing, they caution her that robots were designed only to work. They tell her that machines need to be treated properly—their control systems and motor regulators are checked, and any damaged pieces or appendages are replaced. But a robot does not dream of a better life.

They do not yearn for comfort or expect dignity in the workplace. Robots are appliances. They have no heart, no soul, no thoughts, no identity. When they break down, usually after about ten years, they are dispatched to the stamping-mill on the far side of the island to be disassembled. Their usable parts are recycled.

Domin enthusiastically points out to Helena that at the rate of robot production, hunger will be eliminated within ten years. "All work will be done by living machines." He assures her that then humanity "will be free from worry and liberated from the degradation of labor." Domin describes this glorious new age when "[humanity] at last will be Lord of creation."

When the administrators go off to prepare Helena's lunch, Domin impulsively asks Helena to marry him. Helena resists, saying he must be "mad." Domin grabs Helena by her shoulders and kisses her. When the administrators return with lunch, Domin broadly hints that Helena has agreed to marry him.