Luming Robotics Premieres 'Robots and Their Friends' Robot Theater in Shenzhen

The production is a new offline performance project jointly created by the two companies. Shenzhen Cultural Tourism will operate it on a regular basis, continuing to explore innovative applications of robots in offline entertainment and cultural tourism scenarios, Leiphone reported.

The show presented robots' capabilities in movement, interaction and multi-robot coordination through different stage acts. It opened with a robot boy band in 'Core Awakening,' a group dance. In crosstalk 'Who Is the Smartest Brain,' a robot child and a human child competed in a mental contest. 'Cyber Journey to the West—Qi Tian Xiao Sheng Subdues Demons' rebuilt a classic IP by combining traditional mythology with cyber technology. Martial arts act 'Kung Fu Kid' showed the robot's control of strength, speed and movement. Two DJ sets added futuristic electronic music and Chinese-style elements. A robot also served as an assistant in the magic act 'Imperfect Partners.'

For Luxiaoming, a robot in the production, the theater appearance marked a new role. At the Second World Humanoid Robot Games, Luxiaoming won the cheerleading championship, the street dance championship and a runner-up place. On the theater stage, the robot had to follow the program arrangement to execute actions, control rhythm and switch roles, while coordinating seamlessly with other robots and human performers. The robot became part of the narrative rather than a standalone display, according to the report.

A complete 45-minute performance tested the robots' ability to carry out continuous tasks. From individual movements to full programs and from single-machine performance to multi-robot collaboration, the robots had to combine different action skills and adapt to program transitions, action connections, rhythm control and multi-person, multi-robot coordination. Luming Robotics' NexCore skill production system supported these capabilities.

NexCore integrates task definition, data access, model training, skill evaluation, deployment and operation, and continuous learning into a standardized process, forming a continuous loop of skill production, execution and data feedback. The system supports robots in acquiring and iterating new skills. In the theater, different performances correspond to different robot tasks. After development, training and validation, these abilities can be combined into specific programs and completed by multiple robots. Operational feedback from real performances will provide a basis for later program optimization and robot capability iteration.

For Luming Robotics, the theater is not only a stage for demonstrating robot abilities but also a practical setting for robots to enter real environments and verify and optimize their capabilities. Unlike one-off robot demonstrations, a regularly operated robot theater requires robots to continuously take on performance tasks and requires long-term operation around content arrangement, program iteration and on-site experience optimization, the report said. That pushes robots deeper into long-term and stable offline cultural consumption scenarios.

For cultural tourism and commercial spaces, robots are gradually becoming a new content carrier. They can carry dance, martial arts, music and magic performances, and multi-robot scheduling can form complete program content. As robot skill systems continue to expand, the boundaries of stage content will widen, providing differentiated performance content and immersive interactive experiences for scenic areas, commercial complexes, science museums and resorts, according to Leiphone.

According to Leiphone, Luming Robotics will continue to develop innovation in the 'robot + performance' track, starting from 'Robots and Their Friends,' and further explore ways to integrate robots with cultural tourism, commercial spaces and other scenarios. The company aims to bring robots into more real offline environments and expand technical boundaries and application forms through regular operation and real market feedback, making them new participants in cultural content and offline spaces.