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PRETENDING

The notion of the adoptee’s performative identity — the adoptee is sometimes referred to as the ADAPTEE in the adoption community 1 — and the intertwined structure of dreams and the WWW, has shaped THE BED BOX THEATRE. The theatre, with its façade protecting a spiral skeleton, can reveal the posturing and mask-wearing that can take place in social interaction. To stand behind the structure frames the head and face with all its mask-like and expressionistic capabilities. The puppet stage is symbolic of the performance a person may put on for some others’ benefit. Identity can then be seen as deliberate gesturing, highly suggestive and influenced by a particular audience.

As an adoptee, one’s personal identity can be influenced by a spotted biological history and muddled by the mystery of an unknown double heritage. The adoptee may in turn ADOPT AN IDENTITY, to feel like part of the foster/adopted family. It is common in group dynamics, to assume a particular posture or stance in order to belong.

A performative identity is fluid and adapts itself to particular needs as one is consistently searching for information in order to describe and express oneself; at one time this outward manifestation of the self may be thin and insubstantial and at other times, this identity may be rich with layers of information. Likewise the website can be closed and one-dimensional or multi-layered with a plethora of inward and outward references.

The construction of an identity is a fluid, ever-changing performance which cannot be fixed and static, much like the nature of dreaming. The fluidity of the dream will guide the performances that take place in THE BED BOX THEATRE.