#Why all these questions? The Mouson-Springdance Dialogue, Franfurt

  • What subjects are you really interested in?
  • Why is it interesting for you to occupy yourself with that?
  • Why is it interesting for you to work with this medium?
  • What have your performances to with you?
  • Do you have an opinion or point of view on the subject?
  • What is your attitude towards your medium?
  • Who looks over your shoulder when you are at work?
  • What is your specific input in your performance?
  • Are you provocative in your work?
  • Are you making a comment?
  • Are you expressing feelings?
  • What is your position as an artist in your work?
  • Do you think people can learn something from you? Why are you not a teacher?
  • Do you like to work with symbols and metaphors?
  • Are you interested in psychoanalysis? What makes you want to use it in your work?
  • Are you interested in politics and economics? Why have you not become a journalist?
  • What is the relationship between your political interests and your interests in theatre?
  • Is there a project that you have been eager to realize for a long time now?
  • Where do you get your ideas?
  • How do you judge the viability of your ideas?
  • Is your idea one that you would want to spend a year or more on?
  • What does this idea have to do with you?
  • How does this idea become workable?
  • How do you start a new project – from a tabula rasa?
  • Do you create a space for thinking within the work process?
  • How do you organize the elements of your work, your ideas, your media, your criteria, the technology?
  • Imagine you are a painter: what is your attitude towards the canvas?
  • Imagine you are a painter: what do and don’t you want to have on the canvas?
  • How can you realize what is in your head?
  • How do you construct a performance?
  • Do you choose one solution or do you explore several possibilities?
  • What part does the audience play in your performance?
  • Do you want something to happen between the audience and the performance?
  • What do you expect of the audience?
  • How do you feel about communicating with your audience?
  • What do you want to communicate with your audience?
  • Do you want to give something to the audience?
  • Do you think it important to know what the audience thinks about you? And about your work?
  • Do you think it important that the audience believe you?
  • Does the audience have to exert itself with your work? Do you want them to?
  • Is it important that the audience discovers the link between the performance and your idea that lie behind it?
  • Do you think your inner world is interesting for the audience?
  • Do you want the audience to have an emotional experience?
  • Do you want the audience to start thinking about your subject or take a position on it?  Why?
  • Is to “realize” something for the audience the same as to “experience” something?
  • Do you set out to let the audience identify with the people in your performance? Or with your problems?
  • What reaction from the audience would displease you?
  • Is the audience informed about your subject before they enter the performance space?
  • What is the aim of this piece? How do you propose to achieve that aim?
  • When openness is your aim, how then do you measure whether your piece is open enough?
  • How many objectives can you achieve with one piece?
  • Can you achieve your objectives with the media you have chosen to employ?
  • Do you use material that is close to you and that which is distant?
  • Are you reconstructing a situation in order to underline something?
  • Are you looking for a framework? Do you want to limit or define your ideas?
  • Is your work open or closed?
  • Is your performance a statement? At the level of content or form or both?
  • What was your last performance about?
  • Is there a connection between you last piece and this new one?
  • What is your next project about?
  • How does ‘content’ become theatre?
  • Do content and form coincide in your work?
  • Can one separate content and form? Can one separate the ‘what’ from the ‘how’?
  • What comes first, content or form?
  • Can form be presented as content? Do you want it to be?
  • Can content direct you towards form?
  • Is there a connection or a dissonance between the form and content of what you create?
  • Do you think that aesthetics are a form of manipulation?
  • Have you ever considered leaving out any and all suggestion, illusion and reference?
  • What is specific about theatre for you?
  • How specific is the medium of theatre used in your piece?
  • What do you mean by theatre and theatricality?
  • Do you accept certain principles specific to theatre such as beginning, end, time-line, and the shared space of performers and audience?
  • Is theatre the right medium, as far as credibility and identification are concerned?
  • Where do you think illusion works best, in theatre or in film?
  • Is theatre a medium suitable for education people?
  • Are you eager to do something new in the theatre?
  • Is this the only way for to make theatre or are there others?
  • According to you, what is dance?
  • How do you translate a subject into a dance performance?
  • Does your choreography say what you want it to say?
  • Why do you choose this art form to say what you have to say? Do you use the medium in a way that is not possible with another medium?
  • How do you arrive at your selection of artistic media, such as video and music?
  • What is the performance about?
  • What statement do you want to make with this performance?
  • Where lies the essence of the piece for you?
  • Is it a conventional or unconventional piece?
  • Is it a dance project, a theatre project or a plastic arts project? Why?
  • Is there a political aspect to the piece?
  • What is the story behind the piece?
  • Why do you wish to this? And why exactly this way?
  • Why is this performance interesting to watch, to listen to, or experience?
  • What are the other questions?