Using Jeremy Bentham’s Panopticon as a metaphor, the bar is reconstructed as a theatre of power – a space surrounded by mirrors in which the female bartender is both the object of the gaze and the subject of resistance. The audience involuntarily switch between the roles of ‘observer’ and ‘observed’ and experience first-hand how power is transformed into self-control through the gaze.

Unfriendly or sexualised gazes are no coincidence, but an expression of structural violence: when the female body is seen as a decorative object in public space, when professional identity is overlaid by sexualised gazes – then it is not about individual perception, but about the systematic disenfranchisement of individuals.

It is based on Irina’s personal experience as a bartender. Through interactive performances, wish the audience experiences the double violence of the gaze: whether as someone who looks or as someone who is forced to ‘be looked at’ – in both roles, power produces shame and silence. The infinite mirroring of one’s own presence ultimately poses the question: Who has the right to define the ‘normal’ gaze? Can we recreate an unregulated self in the fragmented mirror images?

以Jeremy Bentham的 圆形监狱 为隐喻，酒吧被重构为一个权力剧场–一个被镜子包围的空间，女调酒师既是被凝视的对象，也是反抗的主体。观众不由自主地在 “观察者 ”和 “被观察者 ”的角色之间切换，亲身体验权力如何通过目光转化为自我控制。

不友好或性化的目光并非巧合，而是结构性暴力的表现：当女性身体被视为公共空间的装饰品，当职业身份被性化的目光所覆盖–那么这就不是个人的感知，而是系统性地剥夺了个人的权利。

它以杨柳西子作为调酒师的亲身经历为基础。通过互动表演，希望观众体验凝视的双重暴力：无论是作为一个被凝视的人，还是作为一个被迫 “被凝视 ”的人–在这两种角色中，权力都会产生羞耻和沉默。自身存在的无限镜像最终提出了一个问题：谁有权定义 “正常 ”的凝视？我们能否在支离破碎的镜像中重塑一个不受监管的自我？