The “eurhythmic” method of Dalcroze, as well as the “bio-mechanical” method of Meyerhold, constitute foundational approaches in the field of the performing arts during the 20th century. Along with Duncan and others, they led to the liberation of physical impulse in dance and, subsequently, in performance arts, as they offered new movement protocols beyond the classical and highly codified norms of ballet. Dalcroze’s physical solfège, the Laban method, the legacy of Artaud, and contemporary approaches that combine music and movement have creatively infused the theatrical landscape. The body is a multi-functional instrument for performing emotions, states, and thoughts. It is the medium through which space and time are perceived and structured. Physical theatre has come a long way since the second decade of the 20th century, developing a complex “grammar” and “syntax.”

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In the case of Hippo Theatre Group, physical theatre takes center stage. In the performance “The City of Lost Robots”, staged at Theatro Stathmos and written/directed by Alexandros Raptis and Fotis Dousos, the robots resemble humans and serve as the labor and servant force. Forced to either serve or entertain their human owners, they “exist” without the ability to grow or, more importantly, to express any emotion. In the bio-cyborg environment in which the story unfolds, an enlightened scientist, a robot with self-awareness and a rebellious spirit, and later more robots longing for “humanity,” fight against the oppression and emotional lobotomy of these advanced creations. The scientist-creator of the robots wants to endow the humanoids with the qualities of humanity, even within finite limits. After all, a world without humanity is an unlivable world. And it appears that, unlike many powerful figures in history—especially those in positions of authority—the robots and a dissident scientist understand what’s truly at stake.

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The scenic adventure is full of emotion, twists, and contemporary humor. It focuses on the themes of freedom and self-determination, while also warning of the dangers involved. Freedom without limits, like authoritarianism, does not allow society to flourish or for diversity to be expressed creatively within the whole. The authoritarian government's motto in this sci-fi tale, “You are born human, you do not become one,” reflects various aspects of totalitarianism that we encounter in daily life, both young and old.

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The performance centers on physicality and biorhythm, transformed into the Kinemo method, which the group has devised and applies consistently in their shows. The three actors (Marinos Orfanos, Eleni Papaioannou, Konstantinos Parasis) bring the roles to life exceptionally. Movement, rhythm, bodily discipline, clear diction, breath, and song are effectively combined. Achieving this requires tremendous effort and rigorous practice. Movement (choreographed by Alexandros Raptis, Fotis Dousos, and Mika Stefanaki) is the dominant element—the structural foundation of the performance. The actors shape the performance’s space and time with their bodies. The music (by Giorgos Dousos) accompanies the narrative, as do the lighting design (Apostolis Koutsiannikoulis). The costumes (by Katerina Chatzopoulou), fitted to the body, reflect the technological aspect through fabric choice and accessories, while allowing for complex movement to be performed.

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“The City of Lost Robots” is a performance that stands out through its difference—contemporary, and extremely refined in its physical execution, carrying a distinct artistic mark.