With HYPERFRUIT, choreographer and dancer Ludvig Daae and film maker Joanna Nordahl research how the internet, and how we communicate online could be used as a structure for a dance performance. What happens when our way of experiencing information on the internet is used as dramaturgy for a performance? When conventional connections and causalities such as "beginning, middle, end" or "1, 2, 3" are exchangeable to for example "1, 2, dog, Beyoncé"? Joanna and Ludvig are both freelancing artists, meaning a life style where they are constantly traveling. Thus most of their relationships take place online, through their computers. This is something that they are used to and appreciate, as children of their time. However, they have come to a crucial realization - it is unexpectedly complicated to meet the demands they have on their love relationships in this digital world. Both Ludvig and Joanna have a lot of experience with long distance relationships, where the internet, rather than facilitating the communication, becomes a necessary evil. The demands and expectations on the relationship become unreasonable and complex, while at the same time the idea about the relationship and the image of the person on the other side of the screen is glorified.
In HYPERFRUIT Joanna and Ludvig will continue the research from their previous performance, MM; what is the difference between communicating physically compared to digitally, measured in emotional impact. All online communication means a distance, a filter if you like. The most obvious reason being the dependency of a physical tool or machine. The communication may be "live", but then always filtered through something non-organic. Joanna and Ludvig will be live on stage, live on film and recorded on film. These different versions of them all communicate with each other and the audience, expanding the physical and spatial limitations. HYPERFRUIT never shows the internet - HYPERFRUIT is the internet as a world or essence. An emotional longing for closeness and intimacy is present throughout the performance, and the communicative obstructions challenge the relationship between both Joanna and Ludvig, and between them and the audience.