Cyber Theatre Project
“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).
Here Is the Message You Asked For… Don’t Tell Anyone Else 😉
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。
—in Sun Xiaoxing website