Despite being Fringe veterans, Ontroerend Goed remain on another level. Ostensibly an act of gratitude to their audience, Thanks For Being Here replaces the aggression of their earlier work with a sly, intellectual wit while deconstructing the nature of performance itself. The boundaries between stage, auditorium and even the outside world are made porous, and the use of pre-recorded speech, live video and humour offer a lesson in theatricality that simultaneously eschews and embraces the spectacular.

In an echo of their Audience (which spoke to the manipulation of politeness into fascism), the protagonist is a video-screen projection of the spectators. Showing their entrances and reactions in the moment, and also inviting them to suggest ideas to improve this show, the screen insists that performance is as much a product of watchers’ minds as it is performers’ bodies. While asking questions of creativity, contemplating the line between theatre and ‘reality’, and musing over the limitless potential of imagination and interpretation, the company even manage a wry comment on representation at the Fringe. Having abandoned shock and awe, Ontroerend Goed are now gently mocking, thanking the audience while subtly exposing our expectations and pretentions. A meta-theatrical experiment, it entertains and caresses without completely abandoning the company’s familiar edge.

Thanks For Being Here, Zoo Southside, until 24 August, 1.45pm; main picture: Kurt Van der Elst.