One of the most essential intellectual tasks that I set to myself as a scenographer is getting to know the very essence of the dynamics of human consciousness within the context of visual culture. Meaningful analysis of our contemporary cultural surroundings might be challenging as we are creating it as active participants of the process. That is why I have always been fascinated by the subtle collisions of time and space that take place on the stage. Tightly tied knots connecting form and matter can playfully unwind, allowing the following rise of antagonistic qualities direct the perception towards the peripheral areas of consciousness. A close examination of this process expands the playground between perceiver and perception.
From a cultural viewpoint one might say that we are on the edge of an apocalypse: coherent meaning is fading into subjective vagueness, boundaries separating art from what it is not are distant history and one of the last universally acknowledged values seems to be the profit margin. One of the profound characteristics of our time is the escalation of superficiality – technological evolution has created a schizophrenic vacuum inside the human mind with an infinite flow of information that is void of any value. Discussions regarding the sacredness of human experience are deemed rather heretically outmoded and are thus subtly diminished by a postmodern mixture of neoliberal survival of the fittest and narcissistic irony. Moreover - in a post-truth society the penalization of dissidents is executed more delicately then ever before - on digital pyres with a single click.
To create a conscious change within the present, both on an individual level and in a broader collective realm, it is beneficial to thoroughly study the past which in turn correlates directly with an often disregarded human need for a meaningful existence. Bearing that in mind, theatre might serve as an effective platform for dialogue between the past and the present. The roots of this cultural phenomenon date back to prehistoric times, to the sources and origins of sacred rites and ceremonies which, throughout thousands of years, have gradually grown into the complex cultural performances that we are a part of today. Just as a good work of art is characterized by different layers of meaning, a play worth seeing could be described as having a strong, root-level connection with the richness of its cultural heritage, while contemporary relevance is linked to the transparency and (two-way) permeability of the fourth wall, and the quality of inner climate is determined predominantly by the troupe's ability to function as a miniature ecosystem. In case of such beneficial concurrences, the crème de la crème emerging from such a solid foundation could be a true spectacle worthy of our time and attention.