My practise.

By making 'experiencing' a fundamental part of the creative development, sensorial theatre blurs the boundaries between actor and audience. In addition to a story that contains a dramaturgy of the senses, darkness and shadow are essential to trigger the individual imagination and stimulate the senses. The installation/performance takes place in a space that is divided into smaller rooms. Each room is part of the story and in the margin of the rooms there is a performer who animates/occupies the space. The audience moves individually or in small groups through the labyrinth. Within this structure, the people in the audience become travelers who do not watch a performance from a distance, but experience a personal experience.

The labyrinth is in itself an investigation. It is like a sponge that absorbs the essence of the environment.
It is subject to change, and on the last day it will be very different from the first day.
It will grow, and gain intensity every day.

The labyrinth is like a web that contains the words, emotions, experiences,... of every person who walks through it.
It is always the result of what the visitors leave behind.

In my practice the basis is the commemoration of the space from a sensorial perspective. The main goal is to offer the audience a transformative experience that enriches and appeals to the imagination, evoking emotion and reflection.

I use what the building, the location, the environment offers me. I look at what the memory, the sensitivity of the body and the geography and history of the place where I find myself tell me. It's about taking time and space to discover surprising elements in our daily environment, to look at that environment with a new look, to rediscover surprise and curiosity through all our senses.

I strive to discover expressive and communicative possibilities that go beyond conventional interactions. Through play-sensorial experiences I try to redefine the norms of interaction between people and propose a different approach in the experience of daily contacts or actions. I also look beyond the boundaries of regular theatre studies, by making the knowledge and memory of the body part of the dramaturgy and the scenography. Rediscovering our body and its environment by allowing ourselves to be guided by sound, smell and taste, stimulating the dormant senses so that their expressive potential can be developed.

In concrete terms, it is about doing exercises in balance, balance, weight and stability to awaken the senses, and that is much more than the five senses we know. In this way, we are sharpening the capacity to perceive. I also work around the body's memory and sensory memory. It is always a matter of inventing stories that we can tell with our body, using the places and objects that the environment provides. The rethinking of objects, sounds, smells and even tastes can put a soul in the installation or the story we want to tell, and in this way it can touch us more than we had imagined at first sight.

Common themes in my research/workshops:

- Fragrances and their relation to memory
- Relationship between performer and audience
- The empty space / the labyrinth as a stage
- The body in space
- The art of listening / silence
- Memory of the body
- Imagination - image versus action
- Object memory
- How to make images in darkness, create blind guided experiences

LABS & RESEARCH

Installations, and Labs

Oslo, Norway 2019

Antwerp 2019 - The poetic of the space

Scotland 2018 - Cubernauld theatre, International workshopfestival

Oslo, Norway 2018 - Vestfossen art laboratory

Nykøben, Denmark 2015 - Theatertalent Mors - professional theater school

Projects