Residencies

• 24.11 > 29.11.2025

In Água Viva, an act­ress tries to cap­tu­re the imme­dia­cy of the pre­sent moment. She stands in the back­sta­ge area on sta­ge, yet never begins to per­form. Her thoughts wan­der in eve­ry direc­ti­on, whi­le she attempts to stay focu­sed on her inten­ti­on: to fol­low herself in the now. Her unfil­te­red stream of thoughts on life and death, time, oli­ve trees, and acting, is hyp­no­tic and diso­rien­ting. The text is a fog of words in which the charac­ter redu­ces her own exis­ten­ce to being a sub­stan­ce of time.

Água Viva is a text based on Clarice Lispector’s book of the same name. In the novel, the wri­ter attempts to grasp the pre­sent through the act of wri­ting itself. Lieselotte explo­res how she can extend this con­cept into her own prac­ti­ce: wri­ting about the here and now as a paral­lel to per­for­ming a charac­ter in the­a­tre. The text has grown into an unfi­nis­hed docu­ment, wit­hout plot or struc­tu­re, appe­a­ring almost unplaya­ble in its cur­rent form. After a year of expe­ri­men­ting in wri­ting, she will step onto the floor for the first time this week with a cen­tral research ques­ti­on: what kind of acting can sup­port such an intro­spec­ti­ve text?

Since January 2025, Lieselotte has been immersing herself in the litera­ry work of the Brazilian author Clarice Lispector. Alongside her inte­rest in Água Viva, Lieselotte has been wri­ting her own short sto­ries in which the spi­rit of Clarice Lispector is pre­sent. Through the­se texts, she also inves­ti­ga­tes how she might trans­la­te her admi­ra­ti­on and fas­ci­na­ti­on for Clarice herself onto the stage.