I am looking at you

Can you see?

Can you see my eyes?

@iContact: Mirror Talk is an interactive one-to-one performance.


In Mirror Talk, the brand-new start-up iContact invites you to take part in a unique experiment and contribute to the development of a cutting-edge technological solution designed to answer our growing need in inter-personal communication.


How often do you meet yourself?

How often do you meet other people?

What is the role of eye contact in these encounters?

And how does it all connect to the device laying in your pocket?



Upon entering the performance space, you will find a table with several objects and a mirror. The performer will guide you through a series of questions and tasks, culminating in a moment of shared space.


This experience is truly novel... [it] is perfect for social distancing and reflects upon our contact over the last few months through mediums such as Zoom. Be ready to look into yourself and push the boundaries in this immersive piece examining our interaction with others and ourselves

- A Younger Theatre

Theatre reviewer and blogger Louise Penn interviewed Neta about the making of Mirror Talk. Read the interview for some insights about our creative process and our perceptions about theatre and its role.

@iContact: Mirror Talk has been performed at:

Form(at) Festival, Camden People's Theatre, London, UK - 8 & 12 September 2020.

Urban Revival FeiTeng Youth Festival, Xi AN, China - 18-23 September 2020


Zimax Hotel Art Salon, Xi An, China - 25-27 September 2020

It has also been performed as a work in progress at Mazeh 9, Tel Aviv, Israel and KongLab, Shenzhen, China.

For more information about past performances and our international agenda practicing theatre in translation, please visit our Global Reach page.


Running time is approx. 35 minutes.

Every performance is an individual experience shared by the participant and the performer.

@iContact: Mirror Talk has been developed with the support of the Royal Central School of Speech and Drama and mentoring of Alan Fielden.