Season 3 embraced the creative potential of uncertainty, instability and disequilibrium. Through conversations on art, practice and imagination, participants explored how new possibilities emerge when we move beyond familiar structures and create within a world of constant change.
In an always chaotic world where we are constantly primed to look for being-grounded, stability, the vertical, what is it to allow oneself to go off-axis, to fall… to be in the moment just before gravity takes over, exciting and terrifying and yet full of possibilities? We’re interested in what it means to redirect the potential energy in that millisecond as we begin falling, towards the discovery of unexpected and imaginative pathways to a newfound capability.
In this third season, we embrace the creative possibilities of disequilibrium, that fundamental condition of living in what has been described as our ‘chaosmos’. If our world is not defined by harmony, but in fact by divergences, bifurcations, and dissonances that are never entirely resolved, then what might it mean to embrace this moment of going off-axis and discovering from it how to create in the chaosmos?
Rosie MacPherson and Juan Ayala explore theatre as sanctuary, lifeline, and site of transformation for refugees, migrants, and communities navigating borders, technology hierarchies, and freedom
Practitioners collectively imagine theatre as a “Foundation” — a grassroots psychohistory built on jazz-like improvisation, virtuosity, trust, and the transformative art of gathering together.
Jehan Manekshaw proposes theatre as a collective “psychohistory” — a community knowledge system capable of building resilience, social well-being, and resistance against civilisational collapse.
Heather Ward, Yuriria Fanjul, Natasha Nixon, Kjersti Webb, and Matilda Blomquist explore the ethics, power dynamics, and transformative possibilities of theatre-making with and within communities.
Kate Quarfordt explores the tension between the “clattering world” of productivity and the “summoning world” of creative longing, asking how artists, parents, and pedagogues can
Delhi-based playwright Neel Chaudhuri reflects on slowness, repetition, and the “velocity of expectation” in pedagogy, questioning how students and teachers can embrace being genuinely unprepared.
Nikki Yeboah and Sarah McCarron explore female protagonists in storytelling, examining how crisis lands differently on women’s bodies and navigating conservatism across theatre and television
Ukrainian artists Sandro Garibashvili, Maria Koreneva, Ivan Doan, and Konstantin Zorkin share visceral artistic responses to war — from sculptural installations and Butoh performance to
Nandita Dinesh discusses her novel This Place / That Place, exploring how her theatre activism evolved into a nuanced, grey-zone practice of understanding conflict, censorship,
Prabhath Bhaskaran explores the intersection of farming, Kalaripayattu, and theatre-making in Japan, embracing chance, imbalance, and chaosmos as the very source of creativity and community.
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