Cyber Theatre Project
賽博劇場計劃

“Cyber Theatre Project” is the revenge of the ghost, doll and virus on the “reality”. The sentence “the sister in the garden talked with ghosts in a friendly manner” comes from a verse of a poet named Trakl. The garden (artificial bonsai-doll), sister (frail-virus) and ghosts confirm the virtuality of the “reality” and ubiquitous existence of the “screen” with their own virtuality (fragile feelings). These screens are between the reality versions produced by various media (between Alpha and Release Candidate), and obtained the meaning of Derrida’s interpretation of the “hymen”—an uncertain interface. “Cyber Theatre Project” is trying to become “beta” in the squeezing process of being swallowed by and overflowing from the interface (screen).

「賽博劇場計畫」是幽靈、玩偶和病毒對「現實」的復仇。「花園中的妹妹與幽靈友好地交談。」出自詩人特拉克爾的詩句，花園（人造盆景—玩偶）、妹妹（體弱多病—病毒）和幽靈，以自身的虛擬性（脆弱感）確證「現實」的虛擬性和「螢幕」的泛在。這些螢幕在諸種媒介生產的現實版本之間[內測（Alpha）和發佈候選（Release Candidate）之間]，獲得了德裏達解讀「處女膜」的含義——一種不確定介面，「賽博劇場計畫」正在該介面（螢幕）的吞噬和溢出的擠壓過程中，試圖成為「測試（Beta）性」的。

Here Is the Message You Asked For… Don’t Tell Anyone Else 😉
這是你要的那條信息……不要讓別人看到;-)

The name of the third work of “Cyber Theatre Project”—“Here Is the Message You Asked For… Don’t Tell Anyone Else ;-)” comes from a virus program called “Melissa” (striped girl). On the surface, she sent an email as an acquaintance or a friend: “Here is the message you asked for… don’t tell anyone else;-)”, the attachment was a Word file. If the recipient opened up this file, the virus would choose the top 50 people in the address book to send out the virus-stained mail. In 1999, she destroyed the mail system around the world.

Taking the dormitory and the bed as the starting points (the pain of growing up is also the pain of leaving the bed), the girls who loved Cosplay were wrapped in the projected gauze (the metamorphosis of the fetal membrane, the hymen and the screen) with the cute elements in the “database”. The microscopic body movements made the audience have to get close to them—entering the dormitory, so that they could enjoy the same sight distance as the audience in live-streaming room, thus constituting a “snooping” on the screen. The cute things created in 2-dimension world (also a kind of “misemono”) occupied the rear audience, their “anti-viewing” to the audience and the “anti-live” to the audience by the actors on the stage using mobile phones were the performative of the two metaphorical media—the theatre and the screen and made one-way snooping and viewing into mutual snooping and viewing, confusing the inner (virtual) and outer (real) part of the screen.
The live sound gave a feeling of bulging like an encephalic orgasm to a flat living space, and the “surreality” in the gauze was about to overflow at any time—the physical form was black feathers and clouds falling down from the bed to the outside. The “overflowing screen” began with soft whispers, melted and pierced the huge gauze wrapping the entire stage, downloaded one reality into another, and the incompatibility of the code caused the latter to be overloaded and collapsed, leading to the chaos and disorder of the shown without clear ending.

After the premiere in Shanghai, a bit audience leaving the theatre stood on the MRT platform with a “salted fish” (cute thing) in her arms and a “white bear” (cute thing) in her hand. She was like one of the top 50 people in the address book infected by “Melissa”, and a dead pixel crushing on the liquid crystal of the screen, leading to the gradual spread of the fault (decoding).

“Here Is the Message You Asked For… Don’t Tell Anyone Else ;-)” was invited to attend Kyoto Experiment in 2017. Bilibili met Niconico on “Clone Island” and hung on the bed with the surrounding T-shirts with the 2020 Tokyo Olympics logo which was suspected of plagiarism and the cute version of the Japanese submarine Japanese submarine I-58 during WWII, which was hidden with toxicity as the director’s note to the Japanese audience.
Hello, Japanese audience, welcome to peep the collective dormitory of “copy girls” who are A Sheng, Midori and Hua Hua, also Nemurin, I-58, Izumi Sagiri and Tsushima Yoshiko. They can’t speak Japanese, but the background music in their heads is Japanese; it is their first time to Japan, but it seems they have lived here for a long time.

In order to come to Japan, pirated Koromon, Bulbasaur and Korosensei from China had to disguise themselves as props, and were vacuumed into a jam shape to cheat the customs. They entered the theatre like refugees.

If the premiere in Shanghai was a virtual invasion of reality, the performance in Tokyo is the solution or question from the copy to the original (real?). “Copy girls” were bred on the bed, hatched on the screen, immersed in the downloaded “copy life”. The liquid crystal screen seemed to be the virgin who thought about sex in dreams, and there was full of something being about to overflow.

Is it a “real” world when their toes touch the world outside the screen? Or is it another “copy”?

At the end of the final night, the typhoon was blown up. The screen above Kyoto was broken. The rain overflowed from the sky like the flood in Revelation. Shanghai appeared in the huge reflection of the street covered with liquid crystal water.

「賽博劇場計畫」的第三個作品《這是你要的那條資訊……不要讓別人看到;-)》的名字來自叫「Melissa」（脫衣舞女孩）的病毒程式，從表面上看，她像熟人或朋友發來的郵件：「Here is the message you asked for…don’t tell anyone else;-)」，郵件的附件是一個Word檔案，如果收到郵件的人打開了這個檔案，病毒就會選擇通訊錄最前面的五十人將染有病毒的郵件發出，1999年她破壞了全世界的郵件系統。
以宿舍和床為起點（成長的痛也是離開床的痛），熱愛Cosplay的女孩們包裹在被投影的紗帳（胎膜、處女膜以及荧幕的隱喻）裏，將「資料庫」中的萌元素加持在身。微觀的身體動作使現場觀眾不得不凑到近處——進入宿舍，才能與網絡直播間裏的觀眾享有同等視距，構成對荧幕內的「偷窺」。由二次元誕生的萌物們（也是一種「見世物」）佔領了後排觀眾席，它們對觀眾的「反觀看」以及舞臺上的演員用手機對現場觀眾進行的「反直播」，都是對兩種互為隱喻的媒介——劇場和荧幕的述行，而使單向的偷窺和觀看變成互相偷窺和觀看，混淆荧幕的內（虛擬）與外（現實）。
現場聲音給予扁平化的生存空間一種顱內高潮般的鼓脹感，紗帳內的「超現實」隨時面臨溢出——物質形態是從床鋪上飄落到外面的黑色羽毛和雲彩。「溢出荧幕」開始於軟濡耳語，融化、刺穿包裹整個舞臺的巨大紗帳，把一種現實下載到另一種現實中，編碼的不相容性導致後者被超載、被崩潰，演出最終走向混亂和失序，且並沒有明確的終點。
上海首演後，一比特離開劇場的觀眾站在捷運站臺，懷裡抱著「鹹魚」（萌物），手背托著「白熊」（萌物），她就像「Melissa」感染的通訊錄最前面的五十人之一，壓壞荧幕液態晶體上的一個壞點，故障（解碼）遂逐漸蔓延。
《這是你要的那條資訊……不要讓別人看到;-)》於2017年受邀京都國際舞臺藝術節（Kyoto Experiment），Bilibili在「尅隆島」遇見了Niconico，掛在床位上印有2020年東京奧運會涉嫌抄襲Logo的周邊T恤以及萌化的日本二戰時期潜水艦伊58，與本人致日本觀眾的導演筆記一樣藏匿毒性。
日本的觀眾你們好，歡迎偷窺「拷貝女孩」們（Copy girls）的集體宿舍，她們是阿笙、不綠、花花、月明，也是眠眠、伊58、和泉紗霧、津島善子。她們不會日語，但頭腦裏的背景音樂是日語的；她們初次來到日本，但好像生活在這裡很久了。
以及來自中國的盜版滾球獸、妙蛙種子、殺老師們，為了來到日本只好偽裝成道具，被真空收納袋抽成果醬形狀混過海關，面色難看像難民一樣登入了這座劇場。
如果在中國上海的首演是虛擬向現實的侵入，那麼在日本京都的演出則是拷貝向其「原本」（真實？）的致敬抑或詰問。「拷貝女孩」們育成在床上，孵化在荧幕裏，沉浸於下載來的「拷貝生活」，液態晶體荧幕仿佛做著春夢的處女，好像有什麼滿滿的，即將溢出。
當她們的脚尖觸到荧幕外的世界，這裡難道就是「真實」的世界嗎？抑或是另一個「拷貝」？
終演的夜裡刮起颱風，京都上面的荧幕破碎了，雨水像啟示錄中的洪水一樣從天空溢出，上海出現在街道覆蓋液晶積水的巨大倒影中。

—in Sun Xiaoxing website