The internet is where innocence goes to die and you can come too

Written and performed by zin.

“The internet is where innocence goes to die and you can come too” explores surfing the internet as a performative act – an experience both banal and mesmerising, confronting and familiar.

We sit on stage facing the audience, each at a table with our laptop. Both laptops are connected to projectors, which are displayed large-scale, side by side onto the back wall for the audience to see as the performance unfolds. YouTube, Wikipedia, Reddit, nothing is off limits in this internet spiral to hell and back.

 

As we embark on an absurd roller coaster ride, delving into the depths of click hole despair and reaching the heights of click bait euphoria, the audience plays an active part in shaping the performance by communicating with us through social media channels and online platforms, gaining a level of control over the outcome of the show. It is a really fun way of exploring the democratisation of the artist audience relationship – but from the safety of your comfy theatre seat.

 

This night at the theatre will break all the rules of tradition for audiences. Phones are encouraged, talking back is recommended, the house lights will stay on, people with short attention spans will get a lot out of it, and most of all, if you don’t like it you can change it. Like all good existential comedies, hilarity and utter banality will stand side by side as equals. Is it profound or is it trash? We don’t know, but look at this panda video.

 

We are interested in the psychology of clickholes, and what surfing the internet and can reveal about a person. We are interested in the personalisation of mass-produced products like MacBooks and the economic and cultural-capital benefit of the internet in our lifestyle. We are interested in the way lines of thought intersect and clash with each other, and how we collectively catalogue and represent our culture online. This live performance speaks to these interests and engages audiences actively in these ideas.

 

This performance is for a contemporary context and for a contemporary audience both in its content and form. Technologically, it is not a work that could have been performed 20 years ago, and socially it will probably be lost in translation 20 years into the future. At this time we have a very specific language for communicating online, with specific online platforms. This performance uses the internet to express and communicate our everyday experiences in a way that is relevant to current audiences.