My creative investigations into theatre, music and performance of various kinds, are combined with attempts to carve out an esthetic theory, specifically about dramaturgy and theatrical composition. The work thus represents quite a wide span: from the very hands on practice of making theatre and music, to an esthetic-philosophical exploration. This is in accordance with an interest to place the different creative activities – and their outcomes – in relation to a critical dynamic outside the domain that the art itself delineates. The guiding matrix in that exploration is the effacement of fixed notions of expressive forms. Where does it lead us to think of theatre as something that continuously has to be reinvented, something that isn’t set, a specific form to which we attach our creative doings, but more of an open investigation into an exchange happening in the present?

The esthetics of the performances is rooted in a musical practice, which not only means that they are filled with music, but often reliant on musical compositions and concepts. It also means that the main focus of my critical explorations is the dramaturgical workings of the non-semantic levels in performative expressions. This critical approach inevitably places the phenomena of representation – and its highly problematic workings – at the center. You might therefore say that my art and theoretical activities are made as contributions to the discussion on how our senses can be moved by what is beyond what we know.