Performance

Improvised and composed performance where physical presence, choice and humour meet — often in unexpected ways.

My performance work treats improvisation as live composition. Not as invention for its own sake or entertainment driven by speed and cleverness, but as a way of working with what is actually happening — in the body, in space, and in relation to others.

The work begins physically. Attention follows. Action comes next. Meaning emerges through this sequence, through contact between body and imagination, between actors, between performer and audience. Humour is an essential part of that process as the human comedy that appears when someone is fully exposed in what they do.

PLAN C — solo performance

PLAN C is my long-term solo improvisation project, created in 2012 and performed more than seventy times across Europe, Australasia and North America.

The piece places a single performer on stage without a narrative frame or predefined characters to hide behind. It is grounded in clear internal structures, but unfolds in direct contact with the audience.

Over time, the work evolved. Certain actions and sequences returned as points of investigation — a way of testing what happens when improvisation begins to approach something closer to an act. Working solo made habits, tricks and abstraction immediately visible. They could no longer be avoided; I had to deal with them.

PLAN C remains the place where I have tested my understanding of improvisation most directly, in public.

Ensemble work & direction

Alongside my solo work, I have been deeply involved in ensemble improvisation and artistic direction.

I worked for many years with The Improfessionals in Paris, where I served as artistic director from 2008 to 2014. My responsibilities included directing performances, shaping long-form structures and developing the company’s artistic language.

In 2018, I co-created and directed AVANT-GARDE, a physical comedy performance developed with HaHaHa Impro Theatre in Sofia. The project combined improvisation, physical play and composition, and required clear direction across languages and working cultures. The task was not to impose form, but to create the conditions for precise, committed action.

Other performance contexts

My work also includes scripted theatre — including a production of Samuel Beckett in Luxembourg (2016–2017) — as well as screen and movement-based projects.