EDGE WAYS

In a dimly lit space, enveloped by the audience's gaze, three performers stand on the periphery of a stark circle of illumination, equidistant from each other and facing the central void. A sophisticated soundscape engulfs the atmosphere, blending dreamlike ambient tunes with fleeting echoes of the external realm — the hum of cars, the clatter of trains, and the melody of birdsongs interwoven seamlessly. This orchestration serves as both backdrop and catalyst for a meticulously choreographed sequence of movements.

The trio embodies a singular character entrapped in a loop of repetitive gestures, each cycle evolving only upon the intrusion of an 'external' auditory disruption. With deliberate slowness, they navigate the circumference of the luminous domain, executing each motion with exacting precision, culminating in a return to their initial positions.

This performance piece delves into the intricacies of how our observed conduct shapes our perception of the world and influences others' perspectives of us. Rooted in the historical context of Bedlam, the infamous asylum in London where 'lunatics' were confined, the narrative draws parallels to the Victorian era spectacle wherein the public could pay to witness the peculiar and confounding behaviours of the institutionalised.