My principles as artistic director of Do-Theatre company is to find the area in a crossing of different art form such as theatre, dance, music and visual art. As a choreographer I try to get my inspiration as far away from dance itself as possible. Most of the time I find dance performances boring and tend to watch movies, listen the music or read books, or simply regard the combination of my dreams and daily life observation as sufficient source of ingredients for each piece. As a result, I can be characterized as an idiot in terms of the update in the dance world. As a theatre director my point of view is quite similar, normally I don't go to watch a theatre play based on text. Brought up in a time of the cold war followed by chaos of "Perestroika"- I received loads of "necessarily education" in a strictly traditional and conservative forms, what was after all simply too much of Vaganova ballet and Stanislavskii theatre. Inspiration from dance and modern theatre itself has more or less been gathered in periods of extreme curiosity, such as my first emerge to the west in the beginning of nineties.
The most influential impacts were definitely Tadeusz Kantor's "The Dead Class", Carolyn Carlson “Dark”, William Forsythe “Steptext”, the early work of Sasha Waltz and John Jasperse "Excessories". Of major impact during my studies were la la la Human Steps a video tape, which had been copied over again probably more than 20 times and the dancers were almost invisible, the Georgian puppet theatre Rezo Gabriadze with "The battle of Stalingrad", the video tape of Mikhail Baryshnikov dancing on the Vladimir Vysotsky song. Inspiration outside the dance- theatre world is vast and impossible to list, but there are some special addresses of interest. Such as the animations of Czech surreal artist Jan Svankmayer, the movies of Andrei Tarkovskii, Jos Stelling, Dziga Vertov and Sergei Parajanov, Tom Cora and Arvo Paart -one of loads on my music list, the books of Anton Chekhov and Haruki Murakami, the paintings of Pavel Filonov and of course the list could be continued endlessly. The funny thing is that none of these listed names have been mentioned in relation to my works ever....
End of eighties and beginning of nineties. I had no defined method. Consider myself as an avantgarde artist I had jumped into the extreme and radical forms of experiments. I choose to more or less reject the whole concept of any established tradition neither theatre or dance (even my own education), working with just unprofessional dancers and actors, collaborating with the groups of psychotherapists, visual artists, musicians, filmmakers- making the performances in the most inappropriate location. Teasing and irritating critics and audience I search for the Total Theatre, something what would take everyone including myself entirely into the Act. It might appear as a consequences of me, growing up in totalitarianism. The time has passed, the extremity has settled and I've learned that there are unnumbered list of unnecessary details which could spoil the poetry of exquisite Act. When the number of productions have reached a limit where I can be called ”well experienced”, obvious result of such an approach brought me the ability to work easier in different settings with different expectations. Since that time I keep changing often my role radically as a choreographer or theatre director. From designing movements to the fingertips like a dictator, to spending many rehearsal days asking the performers to deliver creative material. This variety is also one of the main energy sources, never experiencing productions as a repetitive cycle, but simply trying to experiment with new strategies each time.