Equipped with a head torch, someone sneaks through the space – a burglar, the Pink Panther, a detective, a stripper, a raver, a fox – oscillating between withdrawing and giving in to visibility. What does it mean to surrender to the gaze of the other? The performance dives into the ambivalence of surrendering, as giving up and as indulgence, unfolding from a play with the gaze as a point of vulnerability. The opacity of darkness holds the freedom to move unrecognized, beyond the radar of identity. But how do you know who’s your friend in the dark? In 2011, the Pink Panther appears in the revelation video of the right-wing terrorist network NSU, uncovering the racist murder of nine civilians and one policewoman in a cartoon-like aesthetic. Haunted by this violent appropriation of the pink panther, Dead Angle questions strategies of becoming-imperceptible as potential forms of resistance against subjection, while remaining attentive how the same strategy can be turned against one’s own aims. Moving through seduction and threat, humor and unease, Dead Angle repeatedly returns to the question: does this make you weaker or stronger?