their most ambitious interactive cyber-theatre event ever staged, the performance allowed online audiences to direct the actors and write dialogue for the performances in real time. The Chameleons group produced four performances, these were: Chameleons: The Dark Perversity of Chameleons Chameleons 2: Theatre in a movie screen Chameleons 3: Net Congestion Chameleons 4: The Doors of Serenity As well as four performances Steve Dixon went on to create a two award-winning CD-ROMs which documented and analysed the creation and rehearsal process of the performances of ‘The Dark Perversity of Chameleons’ and ‘Theatre in a Movie Screen’. More recently Chameleons Group performers have collaborated with artists Paul Sermon, Andrea Zapp and Mathais Fuchs, on the telematic performance Unheimlich. Unheimlich was a telematic performance installation (funded by the Art Council) that was exhibited at conferences including SIGGRAPH which enabled the audience in the US to participate in an improvisation with live performers in the UK. The performance used Freud's notion of the uncanny, Unheimlich (at once familiar, homelike, but also strange, alien and uncomfortable) as its starting point. Chameleons: The Dark Perversity of Chameleons The Dark Perversity of Chameleons was the first performance created by The Chameleon Group and directed by Steve Dixon. The idea was conceived and developed by the media and performance research unit at the University of Salford. In the summer of 1994 it was performed at the University of Salford and toured various venues. It was a technically ambitious project that involved the devising of a theatrical text and the shooting and editing of over six hours of original video material. The end video material was screened on five video monitors positioned in different places on the set. The devising process incorporated a composer (Steven Durrant) who wrote and recorded original music for the production. The aim of the project was to attempt to explore the usefulness of Antonin Artaud's theories of performance in specific relation to postmodern theatrical and televisual forms. The production originally attempted to interweave and juxtapose Antonin Artaud's theories of performance with Eastern concepts of ritual and performance codification within and against modern popularist performative models. However, three weeks into the devising process it was evident amongst the performers that it was very difficult to practically realise Antonin Artaud's theories of the actor. So after three weeks of experimenting with Artaudian acting styles, Antonin Artaud's theories were largely abandoned. However, some aspects of Artaud's