Which topic turns up again and again in your artistic activities?
When working with children, the same topics turn up at different levels of intensity and urgency. While the issue of participating in drama with non-professional performers and writers often starts and also stops where the logic of supportive measures defines access and exclusion, in practical work, what turns up again and again is the aspect of one’s own position onstage and the topics which are dealt with there. In my work, it is a cross-cutting issue to consider power-critique levels and setting them as a basis to work on in staging. Here, the focus is on the issue of physicalness onstage which calls for its own level of interpretation and thus questions viewing and staging habits and puts them to the test.
What do you seek to achieve with your cultural education activities?
At the interface between emancipatory and cultural education, there is an enormous potential for locating and experiencing self-effectiveness. Since schools in particular have to cut budgets for cultural-aesthetic lessons ever more drastically, programmes are in decline which offer the opportunity to develop one’s own aesthetic expressiveness and receive impulses. Therefore, through close contact with schools, I seek to share my knowledge, networks and options to continue to be able to integrate cultural education in such institutions. In addition to school contexts, my focus is on drama activities and performances involving and addressing an audience and corresponding to optimally real conditions in society, being consciously followed and countering the theatre canon with a perspective.
What, in your view, is the essence of an artistic intervention in cultural education?
First, that it has been enthusiastically staffed while also possibly being painful and loud, or quiet and stormy or soothing and pricking. Second, that it is perceived. Third, that it has the potential to grow.