Sex on Trains and Rights of Lefthanders 

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Cyber performance (2011)

What is the relation between “real real” and “virtual real”? What will happen when a fragment from intimate (cyber) life gets reenacted in staged performative situation? Digital melodrama, textual pornography, emotional exhibitionism, theoretical performance or …

Sex on Trains and Rights of Lefthanders is a performance that derives on a verge between cyberformance and documentary theatre, combining the live and mediated performance with author’s intimate confessions. On the representational level it deals with the change of a time-space paradigm in contemporary information era, employing the live chat as a medium of representation. One performer is present simultaneously in a real and virtual space, and the other is apparently virtual – we don’t get to perceive him outside of the cyberspace i.e. outside of the hypertext. As two communicate via Skype live chat we get performers bodies transformed into (materiality of) text that formulates a specific post-dramatic structure. On the narrative level this performance deals with alienation, loneliness, (im)possibility of communication, love, sexuality, flux identities, construction of differences (class, race, social, gender) as well as politics of private lives, questioning how they function and transform in the cyberspace environment.

Performance Sex on Trains and Rights of Lefthanders investigates several important issues in contemporary performance practice:

Change of the ontology of the performer in the cyber-space.

Performer’s subjectivity in digital era, in the situation when the performer becomes the final instance in the global network structure of cyberspace.

The production and reproduction of the political in a private space (intimate “one to one” relation) that is at the same time an ultimate public space (global network).

author and performer> Aneta Stojnić

28/02/2011 at 19h, Magacin u Kraljevića Marka, Belgrade