Artistic Statement

As a theatre deviser and director, my intention is to instigate a field of transformation, to encourage artist-performers and audience members to wake up from our everyday routines and to see the world from different perspectives with new possibilities. To achieve this, I base my performances in articulate physicality, in the specificity of the performers’ use of their bodies and their relationship to the space (often non-conventional site-specific spaces). Additionally, the performances challenge the audience’s relationship to the space and to the performers, intending an intimacy and directness in communication between performers-audience, where the performance exists in this space of relationship-dialogue between them. 

Themes that interest me often include an activist component, such as in previous work: the sexuality and empowerment of women, the city dweller’s longing for a relationship to nature, whether spiritual seeking is possible in the post-modernist era, the resistance to consumerism, the challenge of women’s eros in patriarchal society. The intention is to pass the messages and queries of each piece to the audience through the formal elements of the composition as well as through textual, thematic content. I’m a big believer in ‘form is content.’ And the forms that I find most interesting for awakening the audience include: performers’ physical vigor and specificity, ensemble coordination, composition that grows out of improvisation, live music and soundscapes, deep connection to and articulation of text, group creation of poetic imagery and unexpected uses of objects. In most processes, we also work with ensemble training as a basis for group cohesion and communication, as well as group research and development of the subject matter in order to create from a collaborative pool of ideas. 

This approach to performance-making is important to me because it seems that people are stuck in societal ruts that are not making them happy and that are contributing to the unraveling of society and the destruction of our natural world. I want to contribute to loosening people from their ‘stuckness’ by offering other possibilities of engagement and synergy.

Increasingly, I am interested in work that is created through the co-intelligence of the ensemble, where the director may be the gentle, centered captain of the ship and the performers/co-creators the supportive, opinionated crew, and the joint vision the sea that we are all riding on. Such work takes time and commitment, both for the research and development of original devised projects with a clear and impactful dramaturgical throughline, and for the training and cohesion and trust-building of the ensemble, all of which I am developing further with a core group of committed collaborators.

— Angela Delichatsios