Driven by creative spirit and professional excellence, I aim at inducing into modern-styles shows the magic of theatricality. I employ the means of the theatre and performance to create visual and choreographic relevance, and to stir emotions. I aim to form and lead diverse creative teams to uncover underrepresented viewpoints, practices – entire worlds.
A diverse team is key. Having developed various shows from first scratch on paper to opening night in the theatre, I use hybrid technologies to concept in order to enrich the performance’s concepts by the creative teams views and perspectives.
Visualising not only the show but also its underlying concepts, ideas, and view points is key to keeping a clear communication in creative teams.
Every theme, every show, and every approach to show making demands its own way to becoming relevant. Visual approaches to show direction are complemented and disrupted by directing stage practice as and in performance, and applying queering and visionary lenses to design, dramaturgies, – and the creative team.
Thinking through space and action, worlding involves creating not just a world in concept, but translating it into the rehearsal room, the design studios, and finally, onto the stage, right into the hearts of the audience.
“Research is done to understand objects, history and art in context. Storytelling is about communicating that research”
In order to carve out the intrinsic and extrinsic logics of a show, I devise the ways of how the elements of the theatre can be put to use to tell a perspective. It‘s artistic research leading to a concept, a style, a specific way of doing – a direction.
A show’s message can be rendered differently across all involved practices; whether visual, physical through time and movement, through technological excellence, or dramaturgical tricks; queer, ethnic, or vernacular. As a facilitator for creation, I am trying to tickle out a variety of views, of standpoints, or ways of doing.
To develop a show from manifesto, to conviction, to message, all translated via labour and practice on stage. Show Direction is about putting to use the bodies and machinery of the theatre to entertain, at various levels, throughout epistemes.
Let’s start at scratching on the various surfaces of our culture(s) in order to look at us in profoundly different ways of thinking. This can lead to unearthing formerly unrecognised viewpoints of stories already told. The outcome is always a completely new experience – yet, unknown till we start telling them.