The Three Windows: Triptych

Jessie Boswell, The Three Windows (The Plain from the Tower), 1924

Interior/exterior
Belonging/not-belonging
Stranger welcomed or not
At the table, is there room for another?
Leaving a setting, seat at the table for those who are absent
Love thy neighbor, love the stranger (Leviticus)
Outside agitator ( MLK Jr, Letter from a Birmingham Jail)
The wall
to keep us in, or them out
breaking the rules of musical chairs

What if when the audience enters the Roberts Theatre, they come upon something scenic in the proscenium space that evokes this painting to them.  They feel as if those two chairs are where they sit. Through each window we see an essence of something from each of the three pieces. Is this three dimensional and what lays outside the windows are projections? or real?  How can we get a sense of being in that room, looking through those three windows.  Interior/Exterior.  Can it feel as if an actual breeze is coming in through the windows?
How can we de-normalize the proscenium boundary, by accentuating its very boundary-ness?

As the audience enters they are in an installation, an installation of the proscenium, of the Roberts with its orange seating, of the blue curtain. Justin's idea for a soundscape/installation contains voices of people telling their stories of belonging/not-belonging. How to create an environment that audience feels like they are in an installation and that they want to explore what the space is/has/can offer.  What are secrets?  Justin had an idea that there are things on the seats - to either wear, or?

If a triptych is a hinged painting that can fold in on itself, how can we use that as an idea that hinges the three dances together?