“Bliss” draws its name and inspiration from the iconic Windows XP wallpaper. How did this image shape the narrative and aesthetic vision of the performance?
It’s an image that represents nostalgia for desktop computers of the early 2000s, when computing was supposed to give us more free time to relax, rather than – as it is now – control our every move to increase our productivity and capacity. The performance relates its aesthetics to computer games. We want to evoke the immersive experience of being a teenager who explores the virtual world of an online game for the first time.
Could you share how the concept of a “serene landscape” became a foundation for exploring the complex themes of human and digital coexistence?
The Windows XP “Bliss” landscape is a serene yet uncanny representation of nature. Like the landscape, Bliss the virtual being is both familiar and strange, embodying harmony but also suggesting some unease.
In “Bliss”, you explore the tension and harmony between the creator and creation. How does this balance reflect in the relationship between the human performer and the virtual being?
Using motion-capture technology allows creators to connect with their avatars in a tangible way, enabling them to manipulate the models they’ve designed and observe these movements rendered in real time. This capability presents many new possibilities compared to traditional theatre.
Aesthetically, the minimalist stage and shifting projections reflect both the beauty and brokenness of “Bliss.” As Eva’s journey unfolds, the image becomes a symbol of her changing relationship with her creation and her growing understanding that this perfect vision might always be out of reach.
How did the collaboration between NIVVA, Magda Szpecht, and other team members influence the evolution of “Bliss”? Were there any challenges or breakthroughs unique to this Czech-Polish team?
For obvious reasons, we were working not only around the theme of cyberspace but also within cyberspace itself. The distance between collaborators is always a challenge, especially when you have to meet busy schedules together. To find time and space for the process, we were collaborating with our Polish partners (Pawilon and Komuna Warszawa) on residencies as well as in Studio Hrdinů in Prague, which allowed NIVVA and Magda work together in real life. Later in the process, we were joined by Olga Drygas (dramaturge and author of the text), as well as by Anežka Kalivodová (performer and choreographer) – it was not only an additional boost to the process but also a great creative input into the performance structure, theme, and final shape.
Using motion-capture technology adds a powerful element of realism to “Bliss.” How does this technology influence the viewer’s perception of agency in the virtual being?
Motion capture technology makes Bliss feel real by turning the digital character into a lively, independent presence that grows beyond Eva’s control. At first, Bliss mirrors Eva’s movements but as she begins to move on her own, her independence feels more and more genuine. This shift changes how the audience sees her, as Bliss goes from being Eva’s obedient creation to an entity with her own will. Through this technology, Bliss blurs the line between copying and self-direction, prompting the audience to question where human control ends and virtual independence begins.
The performance imagines a future where digital beings may develop a sense of agency. How do you envision the dynamics of this agency evolving beyond human control?
As virtual beings acquire agency, their choices might become unpredictable, driven by their internal logic, values or even emergent emotional frameworks -– these are the characteristics of what we call “a consciousness”. The question is rather – why are we afraid of it? Is it about losing supremacy over another being? But it has happened before. Every story of liberation from oppression – based on nationality, race, or gender – is a story based on the fear of those in power, the fear of losing the advantage. Each of these stories is also about freedom and the right to subjectivity. About equal opportunities and shared responsibility,
How does “Bliss” address the emotional dimensions of autonomy and dependence within human-virtual relationships?
Bliss is a portrayal of the coexistence of autonomy and a deep emotional dependence – a bittersweet duality of a connection that both frees and binds. A human being is convinced that they can erase all the past traces – burn the pages of a diary, throw away an ex’s sweater or delete photos from the computer. But nothing is lost on the internet – Bliss, a being, feeds on the remains of its creator’s experiences, forming an independent identity while remaining tethered to the source. One of them is therefore confronted with the unavoidable truth that they cannot fully escape parts of themselves; even as they discard them, they become embedded in Bliss. Paradoxically, this may evoke a kind of kinship, a reluctant acknowledgement of shared vulnerability, as Bliss becomes both a dependent creation and a haunting reflection of the creator’s own humanity and the inescapable legacy of our own discarded fragments.
What are your aspirations for “Bliss” as it continues to reach different audiences? How do you envision the performance evolving or expanding in future showings?
We are yet to see the premiere and the first presentation to a larger audience, which will allow us to see what elements we can still improve. Does a live-animated avatar have a chance of replacing a live person on the theatre stage in the future?
The world premiere of “Bliss” will take place on November 17 at the Studio Hrdinů theatre and performance venue. Tickets for the entire two-day Norma Festival are still available here.
