THROUGHOUT MY FOUR YEARS OF CLASSICAL TRAINING, I PERSISTENTLY FELT A SENSE OF DISPLACEMENTAN INABILITY TO FULLY INTEGRATE INTO THE TRADITIONAL ACTING COMMUNITY OR ALIGN WITH ITS ASPIRATIONS. THIS FRICTION DIRECTED ME TOWARD INDEPENDENT PRACTICES, WHERE I EXPLORE ACTORS AGENCY AND THE AUTHENTIC PRESENCE OF THE BODY WITHIN A COMPLEX SOCIAL CONTEXT. 

THROUGHOUT MY FOUR YEARS OF CLASSICAL TRAINING, I PERSISTENTLY FELT A SENSE OF DISPLACEMENTAN INABILITY TO FULLY INTEGRATE INTO THE TRADITIONAL ACTING COMMUNITY OR ALIGN WITH ITS ASPIRATIONS. THIS FRICTION DIRECTED ME TOWARD INDEPENDENT PRACTICES, WHERE I EXPLORE ACTORS AGENCY AND THE AUTHENTIC PRESENCE OF THE BODY WITHIN A COMPLEX SOCIAL CONTEXT. 

THROUGHOUT MY FOUR YEARS OF CLASSICAL TRAINING, I PERSISTENTLY FELT A SENSE OF DISPLACEMENTAN INABILITY TO FULLY INTEGRATE INTO THE TRADITIONAL ACTING COMMUNITY OR ALIGN WITH ITS ASPIRATIONS. THIS FRICTION DIRECTED ME TOWARD INDEPENDENT PRACTICES, WHERE I EXPLORE ACTORS AGENCY AND THE AUTHENTIC PRESENCE OF THE BODY WITHIN A COMPLEX SOCIAL CONTEXT. 

Research & Focus

My research focuses on the intersection of corporeality, post-memory, and regional identity. I am interested in how the physical environment and daily habits—such as the constant use of footwear—shape our physical manifestations. I conducted a period of research walking barefoot in Kyiv to observe how the natural sensitivity of the feet is affected when the direct connection to the ground is lost.

In a landscape shaped by war and generational trauma, I examine the autonomy of the body and the price of artistic freedom. I seek a "complex theater" that problematizes aesthetics, moving away from the mere decoration of tragedy toward active intellectual and physical engagement.

Corporeality & Daily Habit Research

Actor’s Agency vs Classical Training

Post-memory & Regional Identity

Autonomy of the Body in Wartime

Tools of Political Theatre

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