Artist Statement
To make theater is to listen and give one’s body and one’s voice to the body and voice of others.
Giving one’s body to the stories of others is to highlight and reconcile the differences that ultimately unite us in our common humanity.
In a performance, two bodies merge in one, but a body never forgets its materiality, precarity, history. A body remembers – the joy, the love, the hurt, the pain – with its veins, its muscles, its skin, its scars. It brings about its past to the present of the stage.
To recite the words written centuries ago, and to incite the same fire that destroyed Rome to burn once again in New York, São Paolo or Warszawa, is to make theater not cruel, but relentless and violent.
Enough has been said concerning violence and cruelty, and these words must be used carefully, just like carefully one must hold a sharpened knife before it strikes.
Theater, after all, is the work of translation. And as with all the translation that acts on behalf of the speaker, the double meaning of words is often confused with the je ne sais quoi of images.
And as such, the unexpressed, the undefined, and the ephemeral have been the matter of which the great masters made their art; but the time of the great masters is past. The work to be done pays its due to the sweat and the blood of those who paved this way for us, remembering the hands and souls which brought about the stuff our dreams are made of.
The theater to be done is to be born through poetry and fought on the ring.
Through the aesthethics of the strange and the bizzare it is to mock and to give unsolicited advice.
Theater is never for politicians, only for those who swear to become ones.
It is not meant to be watched from the comfort of your seat. If it becomes comfortable, it must change right away.
Finally, the fourth wall is a matter of belief, but one thing is certain: it does not separate us; it allows us to meet each other on the other side.
August 2025