Interview Questions for Physical Theater and Acrobatics

My acrobatic skills encompass a wide range of techniques, built over years of dedicated training. I’m proficient in handstands, both freestanding and against a wall, mastering variations like one-arm handstands and handstand walks. Cartwheels are a foundational element, and I can execute them with precision and speed, incorporating variations like back handsprings. My tumbling skills include forward and backward rolls, handsprings, and more complex sequences such as a series of interconnected flips and twists. Think of it like building with blocks; each skill is a block, and I’ve spent years stacking these blocks to create fluid and dynamic routines. I’m constantly working to refine my technique, always striving for greater strength, control, and elegance in my movements.

For instance, perfecting my handstand involved countless hours of practice focusing on core strength and balance. Initially, I relied heavily on wall support, gradually reducing my dependence as my strength and proprioception (awareness of body position) improved. The transition to one-arm handstands required even more focus and strength, a testament to incremental skill development. Similarly, with tumbling, I started with basic rolls, progressing to handsprings through meticulous drills and focused practice, always emphasizing correct form to minimize the risk of injury.

Physical theater transcends mere movement; it’s a powerful form of storytelling using the body as the primary instrument. It integrates elements of dance, acrobatics, mime, and clowning to create a visceral and engaging performance. Central principles include:

• Physicality as Narrative: Actions speak louder than words. Every movement, gesture, and expression contributes to the unfolding story.
• Character Development Through Movement: The physicality informs and reveals the character’s personality, emotions, and relationships.
• Space and Composition: Utilizing stage space effectively enhances the narrative and emotional impact, creating dynamics through proximity, isolation, and group interactions.
• Rhythm and Tempo: Precise control over timing, pace, and pauses creates tension, releases emotion, and maintains audience engagement.

For example, in a piece exploring isolation and loneliness, a character might move in a confined, repetitive manner, perhaps tracing the walls of an imaginary box. In contrast, a character embodying freedom might move with expansive gestures and dynamic leaps. The physical language, the way the character occupies space and moves through it, becomes integral to the narrative.

Creating a physical character is a deeply immersive process. It begins with understanding the character’s backstory, motivations, and relationships. I build the physical character from the inside out, starting with their internal world and then translating their emotional landscape into physical attributes. This might involve considering their posture, gait, gestures, and how they interact with objects and other characters. Think of it as sculpting – you start with a rough form and gradually refine the details, paying close attention to every nuance.

For instance, to portray a character burdened by grief, I might use a slumped posture, slow and deliberate movements, and perhaps a slightly trembling hand. In contrast, a character overflowing with joy might move with lightness and spontaneity, using expansive gestures and energetic leaps. The key is consistency; every physical choice must support the overall character arc and remain believable within the context of the performance.

Improvisation is essential in physical theater. It fosters spontaneity, creativity, and collaborative storytelling. It allows performers to react authentically to unexpected events and build upon each other’s ideas in real-time. It’s like a conversation without words, where the body guides the interaction. We use improvisation exercises to build trust, enhance responsiveness, and develop a shared physical vocabulary.

For instance, a simple exercise might involve two performers interacting physically without any pre-determined choreography. One performer might initiate a gesture, and the other responds, building a chain of physical actions that eventually unfolds into a short, improvised scene. This process allows for surprising discoveries and strengthens the ability to adapt and react instinctively within the performance space.

Safety is paramount in acrobatics. We employ a multi-layered approach encompassing:

• Proper Warm-up and Conditioning: Thorough warm-ups are crucial to prepare muscles and joints for the demands of acrobatic movements. Regular strength training and flexibility exercises are vital for injury prevention.
• Spotting and Safety Nets: When practicing challenging skills, such as handsprings or aerial work, qualified spotters are essential to provide support and prevent falls. Safety nets are also used where appropriate to minimize the risk of serious injury.
• Progressive Skill Development: We never rush the learning process. Skills are built gradually, starting with simpler variations before progressing to more complex movements. This ensures that performers develop the necessary strength, technique, and confidence before attempting advanced skills.
• Regular Skill Assessments and Adjustments: Performers regularly assess their physical capabilities and make adjustments to their training and performance routines to avoid overexertion or exceeding their limits.

Ignoring safety protocols is simply not an option. A thorough risk assessment is always performed prior to every rehearsal and performance, and safety protocols are always followed without exception. The well-being of the performers is our top priority.

Storytelling in physical theater is achieved by seamlessly integrating movement, gesture, and expression into a compelling narrative. The audience understands the story not through dialogue, but through the physical actions and interactions of the performers. We use movement to convey emotion, establish relationships between characters, and build dramatic tension.

For instance, a scene depicting a struggle for power might use a series of wrestling moves and aggressive gestures, while a scene depicting tender love might use slow, intimate movements and soft touches. The physical vocabulary creates a narrative arc with a beginning, rising action, climax, and resolution, all expressed through the performers’ bodies. Careful choreography, precise timing, and thoughtful use of space are crucial for effective physical storytelling.

Understanding body mechanics is fundamental to injury prevention in physical theater. It’s about knowing how the body moves, the forces involved, and how to use those forces efficiently and safely. Proper alignment, efficient use of energy, and understanding how muscles work together are key to preventing injuries like sprains, strains, and fractures.

For example, understanding how to properly engage core muscles during a handstand prevents undue stress on the wrists and shoulders. Similarly, knowing the correct technique for a backbend prevents hyperextension of the spine. Incorporating body awareness and proper technique into every movement minimizes the risk of injuries and promotes longevity in the performer’s career. We use techniques like Pilates and yoga to help performers build strength, flexibility, and awareness of their physical selves.

Partner acrobatics demands a profound understanding of trust, communication, and physical precision. It’s not just about lifting and balancing; it’s about a seamless dance between two bodies. My experience spans years of collaborative work, building a repertoire of lifts, throws, and balances, from basic acrobatic poses to more complex sequences involving multiple transitions and dynamic movements. Effective teamwork relies on constant, non-verbal communication; a subtle shift in weight, a slight adjustment in posture, all communicate crucial information. We establish clear signals and cues to ensure safety and precision. For example, in a specific hand-to-hand sequence, a subtle pressure change in my partner’s grip signals the transition into the next position. We regularly rehearse these non-verbal cues to ensure they become instinctive, preventing miscommunications and maintaining fluidity in the performance. The process involves constant refinement and adaptation; we continuously adjust techniques based on each other’s strengths and weaknesses, continuously striving for improved synchronization and effortless execution.

Safety is paramount in physical theater and acrobatics. Unexpected challenges, like a missed catch or a fall, are addressed through rigorous training and established safety protocols. We develop contingency plans for common scenarios. For instance, if a lift fails, we have predetermined recovery positions to protect both performers. Beyond preemptive strategies, quick reactions are critical. My training emphasizes anticipating potential problems and swiftly adjusting my actions to mitigate risks. If a partner stumbles during a dynamic sequence, my immediate reaction is to provide support, redirecting the movement to a safe landing or modified pose. Post-incident protocols are also essential. We meticulously review what happened to understand the cause and identify preventative measures for future performances. Open communication and thorough debriefing sessions are key to refining our techniques and enhancing safety procedures. Furthermore, we consistently maintain a focus on proper warm-up routines and physical conditioning to reduce the likelihood of injury.

My experience with aerial apparatus is extensive, encompassing silks, trapeze, and lyra. Each apparatus demands a unique skill set. With silks, I’ve mastered various climbs, drops, and wraps, developing both strength and grace in the air. The trapeze requires precise timing and coordination, from simple catches to more complex swings and drops. I have experience in both static and dynamic trapeze work. With lyra, I’ve explored a range of spins, hangs, and inversions, focusing on both fluid movement and controlled strength. My training on these apparatuses emphasizes proper technique to minimize the risk of injury. It’s not just about executing impressive tricks, but about creating aesthetically pleasing and emotionally evocative sequences. For example, a slow, controlled descent on the silks can communicate vulnerability, while a dynamic swing on the trapeze can convey exhilaration. The understanding of these apparatuses goes beyond physical skill; it involves an artistic exploration of movement in three dimensions. Each apparatus allows for a unique vocabulary of movement, and the challenge lies in creatively translating that vocabulary into powerful storytelling.

My approach to choreographing physical theater sequences is highly collaborative and iterative. It begins with a strong conceptual foundation – a clear narrative or theme that guides the physical expression. I then work with performers to explore movement possibilities, developing motifs and phrases that reflect the story’s emotional arc. We experiment with different movement styles, drawing inspiration from diverse sources – martial arts, dance, clowning – to create a unique visual language. The process is highly improvisational; we use games and exercises to unlock unexpected movement ideas, continually refining and shaping the sequence through rehearsals. For example, if the sequence requires expressing conflict, we might start with improvisational exercises based on pushing and pulling, gradually evolving these into stylized movements that embody the narrative’s tension. I prioritize clarity and impact; each movement should contribute meaningfully to the overall story, enhancing its emotional resonance. The final product is a carefully crafted sequence, seamlessly weaving together acrobatics, mime, and other physical expressions into a unified and compelling narrative.

Adapting a physical theater performance to different venues and audiences involves careful consideration of space, acoustics, and audience expectations. For example, a large, open-air venue demands a performance scale that differs dramatically from an intimate theatre setting. The choreography might need modification; large, sweeping movements might be suitable outdoors but feel overwhelming indoors. Sound design also plays a vital role, adapting to the venue’s acoustics. We also consider the audience’s demographics and cultural background. Humor, for instance, can vary significantly across cultures; some physical comedy elements might resonate strongly with one audience but fall flat with another. Pre-show observation of audience response can also provide valuable feedback for adjustments during the actual performance. The key is flexibility and responsiveness. We strive to connect with the audience, tailoring our energy and engagement to create a shared experience, regardless of the venue or audience composition.

My experience encompasses diverse physical theater styles, notably Commedia dell’arte and Bouffon. Commedia dell’arte, with its stock characters, slapstick, and improvisation, provided me with a foundation in comedic timing and character development through physicality. I’ve developed a deep understanding of its precise use of masks, gestures, and exaggerated movement to communicate character and emotion. Bouffon, on the other hand, offered a stark contrast. It’s a style that utilizes a darker humor and explores the grotesque, focusing on the vulnerability and absurdity of human nature. The exaggerated movement and often chaotic energy is designed to challenge conventional notions of elegance. Both styles significantly enhanced my understanding of physical storytelling, pushing the boundaries of character expression and audience engagement. The contrast in these techniques broadened my understanding of how physicality can be employed to tell a wide array of stories, from the lighthearted to the deeply unsettling.

Props in physical theater are not merely stage embellishments; they’re integral narrative tools that add depth and visual interest. My experience in prop design and utilization ranges from creating simple, evocative objects to manipulating complex, multi-functional props. I understand the importance of considering a prop’s weight, texture, and potential for interaction. For instance, a seemingly simple cane can become an extension of a character’s personality, used for support, combat, or even as a symbol of authority. The design process requires careful consideration of safety and functionality. For example, if a prop is involved in a dangerous sequence, we’ll thoroughly test its structural integrity and stability to ensure the safety of the performer. The selection and manipulation of props directly affect the storytelling; a subtle shift in the prop’s placement can subtly alter the scene’s emotional mood. A thoughtful approach ensures that the props support the narrative and enhance the overall visual experience.

Building the necessary strength, flexibility, and stamina for physical theater and acrobatics requires a holistic approach. It’s not just about brute force; it’s about intelligent training that integrates various disciplines.

• Strength Training: I incorporate weight training, calisthenics, and bodyweight exercises focusing on functional strength – the kind that translates directly to the demands of the performance. For example, handstands require significant upper body strength, so I incorporate exercises like handstand push-ups and planche leans. Similarly, jumps and leaps need powerful legs, addressed through squats, plyometrics, and deadlifts.
• Flexibility and Mobility: Daily stretching, yoga, and Pilates are crucial. I focus on dynamic stretching before training to increase blood flow and prepare my muscles, and static stretching afterwards to improve range of motion and prevent injury. Specific exercises target areas frequently used in acrobatics, like hamstring flexibility for splits or shoulder mobility for handsprings.
• Stamina: Cardiovascular fitness is built through activities like running, swimming, or cycling. Rehearsal itself is a major factor – long hours of intense physical activity naturally builds endurance. I also incorporate interval training, alternating high-intensity bursts with periods of rest, mirroring the energy demands of a performance.
• Injury Prevention: Crucially, I prioritize injury prevention through proper technique, consistent cross-training, and rest. Listening to my body and taking rest days when needed is vital for long-term success. Overtraining is the enemy.

Warm-up and cool-down routines are absolutely non-negotiable for physical performers. They’re not just a formality; they’re critical for injury prevention and performance optimization.

• Warm-up: A good warm-up gradually increases heart rate and blood flow, preparing the muscles for activity. It includes light cardio like jogging, dynamic stretches that mimic movements from the performance, and specific mobility exercises to prepare the joints. A poorly warmed-up body is a body prone to injury.
• Cool-down: The cool-down is equally important. It helps to gradually lower the heart rate, reduce muscle soreness, and flush out metabolic waste products. Static stretches, held for 15-30 seconds, are key here, targeting the specific muscles used during the performance. This prevents post-workout stiffness and aids in recovery.

For instance, before a demanding acrobatic sequence involving aerial work, my warm-up would include cardio, shoulder mobility exercises like arm circles and rotations, and dynamic stretches like leg swings and torso twists. Post-performance, I’d focus on static stretches for my back, shoulders, hamstrings, and groin.

Working under pressure and meeting tight deadlines is inherent to the world of performance. I’ve worked on numerous productions with incredibly demanding schedules and have developed strategies to manage the pressure effectively.

• Prioritization: I break down large tasks into smaller, manageable steps, prioritizing the most critical aspects first. This approach helps to prevent feeling overwhelmed and makes the process less daunting.
• Time Management: Effective time management, including creating detailed schedules and sticking to them, is crucial. I utilize planners and to-do lists to stay organized and track progress.
• Problem-Solving: When unexpected challenges arise (and they always do!), I focus on finding practical solutions quickly, rather than dwelling on the problem. Collaboration and communication with the team are vital in these situations.
• Resilience: A positive attitude and a resilient mindset are key. I understand that setbacks are inevitable, and I approach them as learning opportunities rather than failures.

For example, during a recent production, we had a major set piece malfunction just days before the premiere. By working collaboratively with the technical crew, we identified the issue, devised a solution, and implemented it within the timeframe. This required quick thinking, adaptability, and effective teamwork under intense pressure.

Effective collaboration is the cornerstone of successful physical theater and acrobatics. It involves clear communication, mutual respect, and a shared understanding of the creative vision.

• Open Communication: I prioritize open and honest communication with all members of the team – fellow performers, directors, technicians, and stage crew. This includes active listening, expressing my thoughts and concerns clearly, and offering constructive feedback.
• Respectful Collaboration: I view each member of the team as a vital contributor, respecting their expertise and contributions. A collaborative environment fosters mutual trust and enhances the creative process.
• Shared Goals: Establishing shared goals and objectives from the outset is essential. This ensures everyone is working towards the same vision and helps to avoid misunderstandings and conflicts. We need to be on the same page.
• Conflict Resolution: Addressing disagreements or conflicts promptly and constructively is crucial. I believe in finding solutions that benefit the entire team, not just individual needs.

In practice, this might involve actively participating in rehearsals, offering suggestions to fellow performers, or assisting technical crew members with set changes. A unified team creates a unified and powerful performance.

I have extensive experience teaching and instructing others in physical theater and acrobatics, both in formal settings and through workshops. My approach is centered around building confidence, fostering creativity, and prioritizing safety.

• Adaptive Teaching Styles: I adapt my teaching style to suit the individual needs and learning styles of my students. This may involve adjusting the pace, providing personalized feedback, or using different teaching methods. Some students learn better through visual demonstration, while others benefit more from verbal instruction.
• Safety First: Safety is paramount. I emphasize proper technique, progressive training, and injury prevention. Students are taught to listen to their bodies and take breaks when needed.
• Progressive Skill Development: I break down complex movements into smaller, manageable steps, gradually building the student’s skills and confidence. This approach makes learning more accessible and reduces the risk of injury or frustration.
• Creative Exploration: I encourage creative exploration and self-expression. Students are given opportunities to develop their own movement vocabulary and incorporate personal styles into their performances. I foster an environment where experimentation is encouraged.

For example, when teaching a beginner acrobatics class, I begin with basic conditioning exercises and fundamental movements before gradually progressing to more complex skills like cartwheels and handstands. Each step is broken down into detailed instructions, with plenty of time for practice and feedback. The focus is not only on achieving the physical skills but on understanding the technique and the creative application of those skills.

Like any performer, I have both strengths and weaknesses. Recognizing these is key to continuous improvement.

• Strengths: My strengths include strong physical abilities (strength, flexibility, stamina), a quick learning capacity, an ability to adapt to different performance styles, and excellent teamwork skills. I am also a creative individual who enjoys experimenting with different movement styles and devising my own choreography.
• Weaknesses: One area I am continually working on is improving my ability to manage performance anxiety. While I perform well under pressure, pre-show nerves can sometimes impact my focus. I am also focused on consistently developing my hand-to-hand partner acrobatics skills, recognizing this as an area needing further development and practice.

I address my weaknesses through targeted training. For instance, I practice mindfulness techniques to manage my performance anxiety. For hand-to-hand work, I dedicate time to specialized training with experienced partners, focusing on trust, timing and precision.

Managing physical and mental fatigue during rehearsals and performances is vital for long-term well-being and optimal performance. It’s a balancing act requiring proactive strategies.

• Prioritizing Sleep: Sufficient sleep is critical. I ensure I get at least 7-8 hours of sleep per night, especially during periods of intense rehearsal. Adequate rest allows the body to repair and rebuild.
• Nutrition: Proper nutrition is crucial. I maintain a healthy and balanced diet, ensuring I consume enough calories, protein, and carbohydrates to support my physical demands. Hydration is also key.
• Mindfulness and Stress Management: Techniques such as deep breathing, meditation, or yoga can help manage stress and mental fatigue. I utilize these tools both before and after strenuous activities.
• Active Recovery: Active recovery, such as light stretching or walking, can aid muscle recovery and reduce soreness. I avoid complete inactivity during rest days.
• Cross-Training: Cross-training activities can help prevent overuse injuries and burnout by engaging different muscle groups. I incorporate these to provide variety and prevent monotony in training.

For example, if I have a particularly grueling rehearsal day, I’ll ensure I get a good night’s sleep, eat a nutritious meal, and then engage in light stretching or a short walk before bed. The next day, I might incorporate a cross-training activity like swimming, allowing my body to recover while still staying active.

Character development in physical theatre is a fascinating blend of physicality and narrative. It’s not just about *what* a character does, but *how* they do it. We start with a strong concept – the character’s backstory, motivations, and relationships. Then, we translate these internal aspects into external physical manifestations. For example, a character burdened by guilt might move with a slumped posture, their movements slow and hesitant. Conversely, a character brimming with confidence might utilize expansive gestures and powerful strides.

I often use movement scores to develop character. A movement score is a series of actions and physical choices written down or mapped out. This allows for exploration and experimentation. Think of it like a musical score for the body. I might start with basic actions like walking, running, or falling, then layer in nuances like pauses, tremors, or sudden changes in rhythm. By repeatedly exploring these physical options, I can find the unique physical signature of the character.

For instance, in a recent production, I played a character haunted by a past trauma. I developed their physicality by focusing on sharp, jerky movements interspersed with periods of stillness, almost as if they were struggling against an invisible force. Their physicality directly mirrored their internal struggle, enhancing the audience’s understanding of their emotional state. This method requires a deep understanding of body language, and it’s a process that involves constant refinement through practice and feedback.

Acrobatics encompasses a wide range of disciplines, each demanding unique skills and coordination. Solo acrobatics focus on individual skills, showcasing strength, flexibility, and control through movements like handstands, cartwheels, backflips, and aerial silks. This requires rigorous training in body awareness and precise execution.

Partner acrobatics involve close collaboration and trust. It’s a dance of balance, support, and synchronized movements. Skills often involve lifts, throws, and balances where one partner relies on the other’s strength and stability for support. The success of partner acrobatics relies heavily on communication, precise timing, and mutual understanding.

Group acrobatics take this teamwork to another level. It involves the coordination of multiple individuals, often creating complex formations and human pyramids. Successful execution relies heavily on shared vision, practiced synchronization, and an intricate understanding of each individual’s role within the larger performance. The challenge lies in creating aesthetically pleasing formations while ensuring the safety and security of all participants. The energy and visual spectacle of group acrobatics is particularly engaging for the audience.

Music and sound are integral to physical theatre; they are not mere background elements but active collaborators shaping the narrative and emotional impact. I’ve worked extensively with composers and sound designers to integrate live music, pre-recorded tracks, and ambient sounds into my performances. The music’s rhythm, tempo, and dynamics directly influence the pace and style of the physical movements. A slow, melancholic melody might accompany a scene of grief, while a fast, rhythmic beat could underscore a scene of exhilarating action.

For instance, in a piece exploring themes of isolation, we used ambient soundscapes – distant city noise fading into silence – to highlight the character’s loneliness. The sound design amplified the character’s physical isolation, creating a visceral experience for the audience. We also used silence effectively, allowing the audience to absorb the visual storytelling without distraction. The interplay between sound and movement is crucial. Precise synchronization of movement to the music builds tension and enhances the overall artistry of the production. It’s a continuous process of experimentation and collaboration to achieve a harmonious blend.

Effective utilization of space and dynamics is crucial for compelling physical theatre. The stage becomes a canvas where the performers’ movements paint the story. By manipulating space – using levels, diagonals, and different areas of the stage – we create visual interest and direct audience focus. For example, a character might move from the center of the stage (representing power) to the periphery (representing vulnerability), reflecting a shift in their emotional state.

Dynamics refer to the variations in energy and intensity of the performance. A sudden burst of rapid movement can create a powerful moment of tension, while a slow, deliberate movement can build anticipation or convey introspection. Careful consideration of pacing, tempo, and the use of pauses is crucial. Knowing when to ‘fill’ the stage with energetic movement and when to leave space for silence and contemplation adds layers of depth and meaning.

I often use level changes— moving up, down, across, and through the stage— to tell a story. For instance, a character climbing a ladder could symbolize ambition, while their subsequent fall could represent a loss of power. These spatial and dynamic choices must always serve the narrative and enhance the emotional impact of the performance, creating a holistic and impactful experience for the audience.

Costuming plays a vital role in physical theatre, going beyond mere aesthetics. It’s an extension of the character’s physicality and story, impacting movement and audience perception. The fabric’s texture, weight, and flow directly influence the performer’s movement. A restrictive costume might convey a sense of constraint or oppression, while flowing garments might emphasize fluidity and freedom.

For instance, in a performance about transformation, I worked with a costume designer to create a costume that dramatically changed throughout the performance. The initial restrictive, heavy garment symbolized the character’s initial struggles, while the later, lighter, more flowing outfit reflected their liberation and newfound freedom. The costume visually reinforced the physicality and character arc, enhancing the storytelling in a powerful way.

Furthermore, color, shape, and silhouette all contribute to the overall character and theme. A bright, bold costume might signify exuberance, while muted tones might communicate sadness or introspection. The relationship between costume and movement is a dynamic one. Careful planning and rehearsals are needed to ensure that the costume doesn’t impede or restrict movement, but rather enhances it. The costume should be a seamless extension of the performer, enabling, rather than hindering, the physical expression.

Balancing creativity and technical skill is a constant juggling act in physical theatre. Technical skill provides the foundation – the physical proficiency to execute complex movements safely and effectively. Without this foundation, creative ideas remain just ideas; they cannot be realized on stage. However, pure technical skill without creative vision produces a sterile and ultimately unengaging performance.

I approach this balance through a collaborative and iterative process. I start with a strong creative concept, a story or theme I want to explore. Then, I explore the technical possibilities – what movements, acrobatic skills, and spatial dynamics are available to express that concept. Through repeated rehearsal and experimentation, I refine both the creative concept and the technical execution. It’s a process of mutual informing; creative ideas shape the technical choices, and the technical limitations influence the creative direction.

For example, I might conceive a scene requiring a dramatic leap across the stage. The creative concept is the dramatic impact of this leap, representing a leap of faith, for instance. The technical side involves perfecting the jump itself, ensuring its safety, and integrating it smoothly into the flow of the performance. This iterative process of refining both aspects ensures a cohesive and powerful performance.

My future goals encompass both creative exploration and mentorship. Creatively, I’m eager to delve deeper into the intersection of physical theatre and new technologies – exploring how virtual reality, augmented reality, or interactive media can enhance the storytelling potential of physical performance. I’m interested in developing immersive and interactive experiences that push the boundaries of traditional stage performance.

On the mentorship side, I want to foster the next generation of physical theatre and acrobatics artists. I believe in nurturing creativity and providing comprehensive training that combines technical mastery with artistic vision. I hope to establish workshops and training programs that share my knowledge and experience, enabling others to explore the boundless possibilities of physical storytelling.

Ultimately, I aim to continue pushing the boundaries of the art form, creating performances that are both technically stunning and emotionally resonant. I believe physical theatre has an immense power to connect with audiences on a profound level, and I’m committed to harnessing that power for creative and meaningful expression.