Over the past few months I’ve experienced something wonderful from a writer’s perspective. I’ve watched my words, flat and silent on paper as they were, come to life in a way that I’d never imagined. My poetry was transformed so that several pieces of writing not only connected together, but took on a very physical form. I could walk around my characters as they interacted with each other, I could freeze time, I could see sweat form on their brows and dirt gather under their nails. I could smell fear, yearning, love. I owe this to a bunch of people whose enthusiasm was infectious and whose creativity helped me grow so much in this sphere of my life.

First and foremost I would like to introduce Alba who not only plays a character in the performance, but also directed and helped me translate my moments into the magic that will be happening next weekend 23rd-25th May at Kantina ta’Katarin in Zejtun, Malta. More details on the poster below.


My interview with Alba:
Who is Teresa?
There are two Teresas…. The Teresa who was part of the inspiration and the Teresa who gives a name to the creature/essence I am portraying
Teresa, the inspiration, used to live in a shelter, at a younger age she had worked with the cotton industry and although she was a servant, she had a love story with one of her bosses…she likes staying inside the shelters and she was very happy with us doing our piece at the ones underneath Villa Bologna:)
Now for the Teresa that I portray….she is not what I would call a character…she is rather a series of moments in life…she is the embodiment of the feelings during these specific moments…Teresa is as if you took, for example, the feeling of the happiness out of relief, and shaped it up into an image made up of a human form….she is like a group of feelings seen from a telescope…because of how close the audience is to her during the performance.

Why did you choose microtheatre as your area of study?
I chose Microtheatre as my main area of study because I had always been fascinated by the breaking down of boundaries between the performer and the spectator….and in Microtheatre, I found this dynamic to be enhanced to the full….In Microtheatre, the only boundary that exists between the performer and the spectator is the fact that they are both conscious of their role….there are no physical barriers….and what happens without barriers is magic….I invite everyone to come and experience this magic themselves in order to give a definition to it!

As a director, why is physicality such a predominant factor in this performance?
I have been training physical theatre for the past 4 years under the guidance of Doctor Nicole Bugeja… It all began when I started reading for my degree in Theatre Studies at University. I found that this sort of training was like a puzzle piece that had been previously missing from my creativity.. this sort of training is constantly giving me new tools to use which have been inspiring me without a limit ever since I started..at this moment in time, physicality is my forte…and I had to put my forte into ‘As the Dust Settles’.


How did you join the poems together and shape them up into their physical form?
I am extremely lucky….. I get a great deal of dreams in which I see innovative performances happening… I get very interesting images… I get performers using certain materials in certain ways… or treating concepts in particular manners…..in these dreams the whole experience is sensory… I see, touch, smell and feel everything in front of me as though I was awake..and in them I am always the spectator..Thankfully when I wake up, I always remember and write everything down!!! The joining of the poems together was once again like putting together a puzzle piece. The puzzle pieces were made up by different materials such as, the images from my dreams, the spacial dynamics provided by the shelters, the conversations with Miriam in order to really understand what the poems meant to their creator….etc. In talking with Miriam and whilst reading the poems, I would get images in my mind, inside the shelters, and these images, which were very much influenced by my dreams, seemed to fit in perfectly with each other and make sense with regards to the poems…. It was basically a puzzle that shaped itself up..then obviously, the period of rehearsals would once again add new and different layers to the original ideas.

Tickets from here.

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  1. […] this is not your conventional stage-and-seating arrangement, how do you conduct a performance as a […]

  2. […] They worked hard in that claustrophobic and damp environment of the WWII shelter. So thank you Alba, David and Naomi ! Also a big thank you to Warren who helped out with PR and logistics and made my […]

  3. […] Teresa […]

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