Studio for Electronic Theatre, University of Greenwich, UK

Performers: Mieke Weckesser, Malachy Orozco, Ellie Stamp, Agnes Schneidewind, Boris Butorac
Music: Igor Stepanović, Vladimir Bojović, Steve Kennedy, Johann Sebastian Bach
Costume: Hannah Lammin, Lee Borthwick (workshop Steven Lawrence Gallery)
Sound design: Ian Thompson
Lighting: Boris Butorac
Video: Dušan Petković, Steward Jurt
Advice and support: Tatjana Ljujić
Physical performance training: Mieke Weckesser, Hazim Kamaledin
Scenography/directing: Fahrudin Nuno Salihbegović

Duration: 60 minutes


The year is 2029. Civil war rages throughout Europe. A man called Oedipus refuses to take sides in the war and tries to escape penetrating the secret computer programme ETERNITY. This programme enables the one who penetrates it to become completely integrated into the world of the computer – a world without evil, hate, illness, or death.
Oedipus manages to decode the secret code which was protecting the programme.
The code was – M A N.
The characters are shifted into the world of the computer.
But, alas, the characters have not entered the ETERNITY programme, as Oedipus and his followers believe, but the virus programme Sphinx that is designed according to the media picture of the world in 2013.
Oedipus’ rule begins. Let’s dance!

Oedipus – The Code Breaker is following SET’s doctrine of being always at the forefront of the technological innovation, whilst keeping in mind that the prime purpose of theatre has always been and always will be a sincere encounter with ones fellow human being. Following their successful appearance at the Tate Britain’s Late at Tate, with Apocalyptic Cybernetic Theatre Act OEDIPUS, Studio for Electronic Theatre has been working on a follow up, an immersive cybernetic theatre experience which explores the disjunctures between the virtual, a technically sophisticated cybernetic hyperreality and the actual, a crude and brutal everyday reality and the restless and fearful human-being caught in a set of dilemmas and discrepancies which overshadow the dawn of the 21st century.
As in the original myth Oedipus starts his journey as a king and arrives back at his point of departure as a refugee. But, aren’t they both, following some higher logic informed by our transient nature, one and the same? Oedipus’ curse lies in the fact that he has to solve this same riddle all over again.
Studio for Electronic Theatre made an exciting journey with the king-refugee who has, for centuries, been an icon of our limitless limitedness – a journey which proved to be both painful and yet very cathartic for each new generation.


Studio for Electronic Theatre is in the persistent quest for an ever-changing artistic form that in the best way portrays modern desire for self-identification and self-realisation in a post-democratic environment coated by layers of history, ideology and technology. Based in the vibrant city of London, with its rich and versatile artistic milieu, whose creative atmosphere is already very much determined by the productive interaction between artists of different backgrounds and disciplines, SET makes theatre that is strongly characterised by the employment of yet another form of interactivity: the interaction between the performer and the computer - i.e. between the human and the machine - hence the name cybernetic theatre.
SET was established in Serbia in 2007. The founding members of SET were Aleksandar Djerić, Academica Group, Belgrade (Serbia); Fahrudin Nuno Salihbegović, Tatjana Ljujić, Matthias Oostrik, Amsterdam Cyber Theatre and Boris Butorac, PVC-T from Novi Sad.
In 2012 Studio for Electronic Theatre become a research institute affiliated with the University of Greenwich where it runs the SETLab. SET is supported by GRE (Greenwich Research and Enterprise), University of Greenwich.
Members of SET (2012): University of Greenwich, London (UK); Academica, Belgrade (Serbia); Cactusbloem, Antwerp (Belgium); PVC-T, Novi Sad (Serbia); Magdatt, Amsterdam (The Netherlands).