On the Edge
My Role in the Project: Performer
Physical mask performance developed as a collective creation within an international artistic research context
ON THE EDGE explores the notion of the edge as a liminal state — a space between attachment and release, order and chaos, beginning and end.
A contemporary composition weaving together handcrafted masks, embodied movement, archetypal characters and visual imagery — fragments assembled into a poetic score that shifts between playfulness and stillness, irony and tenderness.
At the heart of the work lies a question "What lies beyond the edge?": a threshold where identities dissolve and reform. On this border live a fisherman who fishes by luck, a monk striving to preserve order, a mischievous bird, a moustached gentleman, a gentle robot and other naïve and mysterious beings — suspended between worlds.
At its core, the performance reflects on impermanence and the fragile nature of human attachment.
A human is born in water and, in the end, drifts away in a boat toward the other side of the river. Nothing can be taken along. Everything remains somewhere there — on the edge.
Movement draws from studies of natural dynamics and physical transformation. Masks function not as decoration, but as engines of embodiment — generating physical scores and relational tension between performers.
A contemporary composition weaving together handcrafted masks, embodied movement, archetypal characters and visual imagery — fragments assembled into a poetic score that shifts between playfulness and stillness, irony and tenderness.
At the heart of the work lies a question "What lies beyond the edge?": a threshold where identities dissolve and reform. On this border live a fisherman who fishes by luck, a monk striving to preserve order, a mischievous bird, a moustached gentleman, a gentle robot and other naïve and mysterious beings — suspended between worlds.
At its core, the performance reflects on impermanence and the fragile nature of human attachment.
A human is born in water and, in the end, drifts away in a boat toward the other side of the river. Nothing can be taken along. Everything remains somewhere there — on the edge.
Movement draws from studies of natural dynamics and physical transformation. Masks function not as decoration, but as engines of embodiment — generating physical scores and relational tension between performers.
