I have always seen my work as a director and teacher as an exploration, a practical research as in a laboratory: you might have an idea how a performance should be , but you don’t know what you don’t know – and that’s what you want to discover.
Creating theater and teaching actors is a process of which the final result, I believe strongly, should not be known beforehand.
Acting in real-time is the technique required for the aesthetic demands of postmodern theater, in which other, sometimes alien, theatrical elements break up, or deconstruct, the text of a play, and the usually closed theatrical spaces (…) It reconciles Stanislavski’s psychological realism with Brecht’s epic theater, adding the presence of the actor as himself.