Edith Alibec is a Romanian clown, actress and cultural producer working between Romania, Germany and the UK. She trained at the Athanor Akademie in Germany under David Esrig, and specialised in contemporary clowning through intensive London workshops with Julia Masli, Dan Lees, Dr Brown and Furiozo.

Her debut solo show, ‘Why the Child is Cooking in the Polenta’, toured internationally and won every prize at Romania’s Bacău Monodrama Festival 2018. Her UK tours have been supported by Arts Council England.

She brought ‘Tea and Milk’ to the Edinburgh Fringe in 2023 (★★★★ The Scotsman, ★★★★★ Broadway World UK; a recipient of Phoebe Waller-Bridge’s Keep It Fringe fund) and returned in 2024 with Glitch at the Assembly Festival. On screen, she appears in Cristi Puiu’s ‘Malmkrog’ (Berlinale 2020) and won Best Supporting Actress at the Rome Prisma Film Awards for the short ‘Memories of Crossing’.

“One of the most spectacularly gripping performances I have ever seen”
– ★★★★★ EdFringeReview

“Incredibly funny, with a darkly sarcastic worldview”
– ★★★★★ Broadway World UK

Edith Alibec: ‘The Void’

Edith has a void. She has no idea what to put in it. You might, though.

A purple clown walks on stage with a problem she cannot solve on her own: there is a void inside her, and she has absolutely no idea what to put in it. Edith asks the room what fills the void, then tries everything they suggest - work, love, snacks, dopamine - live, with total sincerity. Every answer becomes part of the show, so no two performances are ever the same - and there is no guarantee any of it works. Will the room manage to fill the void before the hour is up? Will Edith? Or will we all go home having laughed a lot, carrying the same tender emptiness we walked in with - and discover that, maybe, that’s okay?

Less Red Bastard and more Purple Idiot, The Void, directed by Dana Paraschiv, is about fragility and the need to feel whole, the things we reach for to fill our inner emptiness, and the strange tenderness between a clown and a room full of strangers. In an age of doom-scrolling, burnout and the quiet loneliness of being always online, it asks what we actually stuff into that deep place inside us - and how responsible we are for it.