1984: Ministry of Love

Oceania. Year 20?? Eighteen years ago, two children - a boy and a girl - disappeared. The children escaped from Big Brother. As refugees, they were recognized by the System as enemies of the state and evaporated - the traces of their existence were wiped out, and their relatives were to live as if the children have never existed. The girl's father and sister, the boy's mother and the children's teacher - each of the four characters received a mysterious package a few days ago. All four were arrested. Before the court at the Ministry of Love, they will have to describe their relations with evaporated children. During the performance the audience and the actors will become active participants of a dystopia which, thanks to the support of new technologies, allows them to enter the plot and influence its course, taking the role of the Big Brother. The audience's voting has a real impact on which of the characters is questioned and in what order. These choices influence the plot of the play, constitute a sort of attack on human memory and games that one plays with it. Thanks to the synergy between the structure and dramaturgy of the story with new technologies, the spectator is able to experience the rules and mechanisms of functioning in an oppressive, authoritarian state in an immersive way. By voting, viewers take the responsibility that they would never want to take in real life, which creates a sense of guilt, and in the end, it is subject to manipulation of a typically authoritarian, oppressive world in which each seemingly independent and free choice means being "sucked" into the rules of the totalitarian system.