Interview: In conversation with Susanne Kennedy
Foto: Judith Buss
Susanne Kennedy is a director like no other. Having made a name for herself in Holland, it is her astounding pieces, flipping of famous works and the hunt for a script’s essence which undoubtedly confirms this. Inspired by the abstract, and the depths of the human psyche, Susanne explores consciousness beyond audience-expectation. We recently spoke to the director about her creative journey and philosophical beliefs as she gave us an in-depth look into the inspiration behind her latest project Drei Schwestern for the Holland Festival.
Three Sisters is a very iconic piece; how inspired are you creatively by the classics and is this where your love of theatre, or rather journey, began? Although Three Sisters is a classic, I wouldn’t say I’m too heavily inspired by classics. During the past few years, I have started to write texts myself; its what I have always been longing for, but never knew how to get there. Mostly the pieces I’ve done in the past have all been pieces that I wrote myself but I did do a lot of classical works when I was starting out on my journey as a young director. Three sisters is an exception for me at the moment; there are so many themes in it, I knew I could use it for my vision, even though it is not my own writing.
Your work is often distorted, what drew you to see theatre through this abstract lens? In the beginning, I would make a play, and try to push it somewhere and see how far I could go. I always had the feeling that you don’t know how a theatre play is meant to be. We have conventions on stage that everybody uses, but that does not mean a play can only be shown within that convention. I more generally think about, what is theatre? How far can I push it? How can I research where theatre can take me? I look more for a personal experience for the audience and that is very intense. I always tried to find plays, that began with that notion, then I started writing my own plays, as I felt I could go further with this idea. Storing and manipulating the original, for me, was a way of digging my own way to get there.
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