What do you start from when initiating a project? How do you work with the other people involved in the project? How do you use the time of the creation? What are the phases in the creation of a performance? How do you consider the spectators’ experience when preparing a performance? Which skills do you use? Which conventions do you use? Which modes of representation do you use? How do you position yourself in relation to the object/topic/discourse of your work? When does the discourse of your work become clear to you? Which habits do you recognise in your way of working? Which ones would you like to change? What kind of theoretical concepts are you interested in for the future and how do they differ from what you have been busy with in the past? What methods do you use to test your ideas/works? How do you involve other people in your work? What do you think about the idea of a performance user/ test group? Does this differ from a conventional showing/work in progress? How Is your work fixed/finalized once it has become a performance? What are your most recent strategies of working? What is it that makes you work? What are the problems that interest you? How do you decide on possible collaborations? When does fi nancial production come into play? How does writing a proposal in the form of an application infl uence your work? Does it help you to formulate or do you feel restrained by the institutional frames produced by governments, theater, research and work spaces.? Do you feel you can work outside of structures of support? What does community mean to you, are you part of one/several and how does this infl uence or support you work? How would you define the nature of sharing you are taking part in? When working on a performance, how do you start? What kind of preparation do you do, or rather when and how does an idea pass into actuality? What role do other media play in your work? How do you relate theory to practice? Does the one have supremacy over the other? When and how do you decide of the frame to expose your work? How do you articulate the working process? How do you relate an idea, a sensation, a material, to the process of work? How do you choose the material? What role does "spectacularity" play in your work? How do you deal with problems that come up? What is your reference frame when you meet problems? What do you think is significant? Which role does sensation/ intuition play? On which level would you place expression? How do you expose your work? What is aesthetics for you? 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 performancesto do 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 interest 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 the 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 organise 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 realise 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 communicateto 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 believes 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 ideas that lie behind it? Do you think your inner world is interesting for the audience? What must happen to the audience during your piece? How do you manipulate the audience? Do you want to share your emotions with 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 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 or 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 your 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“ and 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? Have you ever considered including any and all suggestion, illusion and reference? What is specifi c about theatre for you? How specifically 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 begginning, end, time-line, and the shared space of performers and audience? Is theatre the right medium, as far as credibility and identifi cation are concerned? Where do you think illusion works best, in theatre or in film? Is theatre a medium suitable for educating people? Are you eager to do something new in the theatre? Is this the only way for you 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 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 does the idea become workable? How do you start a new project – from a tabula rasa? 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 interest 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 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 visual arts project? Why? Is there a political aspect to the piece? Is there a story behind the piece? Why do you wish to make this? And why exactly in this way? Why is this performance interesting to watch, to listen to, or experience? What are the other questions?