PORTFOLIO
§ 01
I am drawn to voices that history overlooks but culture remembers. To words that are erased, forbidden or made impossible to speak aloud. They nevertheless return through myths, literature, theatre and personal memory. My work seeks to bring these voices together into polyphonic tapestry, exploring language as a symbolic force that shapes imagination, sense of belonging and the futures we dare to imagine. The war in Ukraine profoundly reshaped my artistic trajectory. My graduation project at the Ivan Vyrypaev School of Theatre became Russian Book of Dead, an anti-war performance created in response to the first weeks of the invasion. Shortly afterwards, I joined the International Organization for Migration (UN Agency), where for nearly three years I worked with displaced communities, combining community engagement with social theatre. Over the past year I have turned my focus toward literary fiction and long-term artistic research of female authors and female characters in Japanese literature, folklore and mythology as a part of a broader cross-cultural inquiry into women's voices and archetypes.
Education
Communication
English · Russian · Polish · French · Japanese (basic)
Geography
Research Interests
§ 02
No. 01
Commissioned and supported by the International Organization for Migration (IOM), a United Nations agency. A social theatre performance woven from the true life stories of migrants and refugees who fled to Poland after 2022.
Behind the Scenes (9 min) ↓
No. 02
An anti-war performance giving voice to a Russian young generation opposed to Putin's regime. Based on a documentary blog written during the first weeks of Russia's invasion of Ukraine, the production explores exile, memory, moral responsibility and the fractured identity of those driven into exile by the war.
No. 03
An experimental student theatre group at the University of Warsaw, supported by Foundation "Instytut Artes Liberales". Over three years, the ensemble created four original productions exploring myth, classical texts and contemporary political narratives.
§ 03
§ 04
Prose · An Excerpt
You know, every cognitive therapy textbook says you should run from Tens, I said to Mia over the phone for what must have been the third time stepping outside the shop. The sun had already taken full possession of the sky, and I seized every excuse to go out and catch a few rays on my skin. That made me feel more alive before stepping into the white, museum-like walls of the boutique where I had to spend eight hours a day. A narrow street in the old part of the city center. Too many cars, too little space. Just nearby was Zbawix, or Savior Square, the round square beloved by Warsaw's hipsters, with the French café Charlotte and its constellation of fashionable bars; once, on the lawn of the traffic circle, stood a monumental rainbow by a Polish woman artist. Later, local Catholic nationalists burned it down. Unable to tolerate it with even a fraction of the patience of the Savior after whom the square had been named, they turned that rainbow into something even larger than a work of art. It settled permanently into the recent history of the city: troublesome contemporary art, political fault lines, vandalism committed in the name of saving the city, hatred marching beneath the banner of sacred love. And so on. "You should run from Tens," I repeated into the phone, leaving unsaid that to me she was not a Ten at all but a Fifteen. Or not really a Fifteen, of course, even if it was the fifteenth of July, but an Eleven, if anything higher.
Poetry
I'm wasting my time Fasting my life Kind of alive but not being here Daytime nobody, I clean the floors And sing the Greek chorus afterwards I'm waiting in line Each show has its time I see a lot of vague years to go by I'm in a cube filled with water Formaldehyde water The fighting inside Makes me so sad You'll be surprised to hear I'd better be dead Schemes go in circles Spiraling circles And you have to be there to observe them