I know nothing more real than an illusion.

Interview

Dear Daria, could you tell us a little about yourself, your artistic background and your interests?

It was almost inevitable that my sister and I would become artists. Everyone in our family is an artist, and my sister and I are also very energetic people. We have vivid imaginations and a strong sense of adventure. We have worked on more than 80 to 85 projects across theatre, film and performance, and have earned several academic degrees. Since 2015, we have been focusing on performance, which we consider the highest form of acting presence on stage.

Film and theatre are often shaped by rigid systems, which can limit their scope. For us – or for me – performance means freedom within a system.

What makes it exciting? The opportunity to communicate! The experience of being alive! We can’t wait to bring our next ideas to life.

In DOG, you explore how living beings – humans, animals or something in between – can be made to adopt rigid, unquestioned positions within restrictive political systems. What interests you about these processes?

I believe that everyone lives within systems. The question is: which system do you live in? That is a matter of choice. And here is another interesting question: what do you choose? To submit to others – or to make others submit to you? Does freedom really exist, or is it just an illusion? And if it does exist, what does it look like? I know nothing more real than an illusion.

Where does your fascination with dogs and the idea of transforming from a human into a dog come from? Has this fascination changed through your artistic work?

Before working on this performance, I was more of a cat person. But now dogs think I’m one of them! I spent nine months studying dogs, their training, behaviour and psychology.

This performance has changed a lot of things. There is now a wonderful dog who inspired me and became the model for my hybrid creature. She chose me. She is just like the dog I had as a child. I am completely enchanted by her: her unconditional love for her owner, the joy she shows every time we meet again, her loyalty, patience and discipline – and her willingness to do anything for you!

And now for the most interesting part: how the idea came about. One morning in the kitchen, while talking to my sister, I told her about a dream I had. I started thinking about Mikhail Afanasyevich Bulgakov’s Heart of a Dog – except that in his story, a dog is first transformed into a human and then back into a dog. That was almost 100 years ago. But the metaphor is timeless and still relevant today. The idea then took on a life of its own and began to develop. All we had to do was make ourselves available to it.

Could you tell us about working with your twin sister? How did she become involved in the project?

Most of our directing work is based on a shared creative process. We develop our films, performances and theatre productions together. Each of us has her own strengths and weaknesses, but together we make a great team! We are like Cerberus from Greek mythology!

It all started with an application to the Bears in the Park mentoring programme. It had been a long-standing dream and a clear goal of mine. For years, I had watched performances at WUK and brut and admired the artists on stage! I wasn’t accepted on my first attempt, but as the saying goes: ‘If you have a goal, you don’t see obstacles!’ I feel as though I have completed a third degree this year!

At first, Katja simply supported me as she always does. But after one of the work-in-progress presentations, when she was in Vienna over the summer and joined the rehearsals, we realised how much deeper and more alive the idea became when she was actively involved. As is often the case with us, it was a bit of a risk – but art can work wonders!

I am very grateful to everyone who helped and supported me. And that is how Katja became an important artistic part of DOG! Woof!

What would you like the audience to experience during the performance? What might they think about, perhaps even afterwards?

I don’t know – everyone has their own experiences in life. The one thing I definitely don’t want is for the audience to feel indifferent. I hope people leave the theatre with a whole swarm of thoughts in their heads – not indifferent, perhaps even a little unsettled.

For me, this project is about many things: love, freedom, and the question of whether freedom exists in our world at all, and what forms it might take.

What can we find on your bedside table?

Among other things, a Japanese wooden Samurai Kokeshi doll, a figure of a monk or dervish, a Japanese lucky cat (Maneki-neko), and a black-and-white childhood photograph of Katja and me – plus quite a few other things. ;-) This little exhibition is regularly updated.