I do not imagine a theater, because I live theater, breathe it in and out; I dream it. But, if I had to imagine a theater, then I'd like to imagine that the languages that have been forgotten, which are still spoken in many parts of the world, would be part of this new playwriting.
What if we define values, principles, and methodologies, resisting the pressure to define outcomes? What if we focus on what drives us and on how we want to live and work together, but leave the imagination open to the concrete shapes our collaboration can take?
Under El Sisi, where every inch of the city is controlled by the army, censorship spreads like a plague, and the possibility of any form of creative expression in the public space – especially graffiti, which was an extremely important medium during the revolution – is close to nil. And so the appearance of a work of street art on such a gigantic scale is phenomenal.
Cycling through the city, I sketch out our theatre. I imagine the possibilities of claiming these spaces for performance instead. A multitude of contexts, rooms and stages for artists to create the tiny and intimate, the bold and epic.
Wish-full thinking. It contains a wish, a hope, a possibility, a thought experiment, a fantasy, a “what if…”, the potential of the performance to enact change – political or social change, maybe, or a change in the energy of the room, or a psychological change, momentary or lasting, in the spectator.
Dangling in mid-air like a thrust-out tongue, an oval-shaped rocky surface extends from the mouth of a cave to form a rough-hewn apron stage in the middle of a mountain.
They will surely become aware of the powers inherent in other generations, that the children and the elderly possess the wisdom of resurrection in our time.
Possible structures are being created by their movements. Different shapes, sizes, and contour lines. They offer in their movements all of the cities Haifa could have been. Cities are formed and buried immediately.
It must be with the sound of bells, bells that play longer than usual, which we perceive more clearly because […]
It is the fantasy of a body discovering new relationships with itself. Silvia wants to be where there are no dimensions, neither internal nor external.