Hey there!

I am a theatre maker, facilitator, media educator, consultant and lecturer - driven by a great curiosity for new topics and a clear focus: to make culture more accessible, communal, and diverse especially for young people. Instead of committing to a single field, I am consciously working interdisciplinarily. The various roles - whether on, behind, or alongside the stage - are closely intertwined. All these areas of work are connected by the desire to collaboratively shape creative processes, support groups, dismantle barriers and create access to art and cultural institutions for more people. 

From the beginning, my journey has been characterized by the desire to utilize theatre as part-taking in society. Early projects emerged from the conviction that theatre can function in a communal, appreciative manner without a competitive mindset. Participation and co-creation are the key for that, especially when it comes to working with young people.

A significant milestone was an internship with ASSITEJ South Africa. Under the direction of Yvette Hardie, I participated in the organization of the 19th World Congress and Festival for Theatre for Children and Youth. This experience illuminated the potential of theatre as a tool for social change and emphasized every child's right to access culture and participate in it. 

Further experiences in the UK - especially in London and Scotland - demonstrated how diverse, inclusive, and accessible theatre can be when appropriate concepts are taken seriously. I studied MA Applied Theatre at Goldsmiths University of London. There, I encountered the incredible work of  BLINK Dance Theatre and deepened my engagement with London’s theatre scene. I facilitated projects for Herts Inclusive Theatre and took part in courses like visual storytelling (Theatre Rites), sensory theatre (Oily Cart), Aesthetics of Access and alternative approaches to access for audiences (UnLabel). 

In 2023 I created a show for the cultural programme of the Special Olympic World Games 2023. The show was a Relaxed Performance, contained Creative Captions on stage and granted participation of young people with and without disabilities in the ensemble - who have never been part of a performance before. The show received great critics.

Linked to this, I was invited to an artists' residency on Diverse Voices in Youth Theatre in Scotland.

Today my current focus is on the development of Aesthetics of Access and Relaxed Performances in my own shows - and the guidance of productions through a process to more accessible formats. I am also creating accessible formats across disciplines like e.g. the Silent Hour for the Berlin Biennale 2025.

Even though idealism often faces opposition, experiences show that it is worthwhile. The demand is present, the impact is tangible, and my goal is clear: to create theatre and cultural education as open, empowering spaces - for everyone who is part of society.