The art of corporeal mime is a highly specific method of movement rooted in physical training, creating art through the motion of the body rather than through images or spoken narration on stage. For example, in ballet, a perfect pirouette is practiced and performed in its original form. It is always a pirouette—whether in a variation, a pas de deux, or within a different piece of repertoire.
In corporeal mime, that same pirouette is transposed. While its foundation lies in technique, the movement becomes more than just the action—it might evoke the slamming of a door, a departure into a dream, or a fall into a deep hole. Thanks to this flexibility of interpretation, each artist's work grows out of the technique but is not confined by it.
My practice—both as a performer and as a director—begins with the body. The body becomes the origin point of creation and communication, a primary language through which stories are shaped. I am constantly asking: how does the body talk, and in listening, I build work that speaks.
