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DIRECTING THAT THRIVES ON CHALLENGE
I direct performances that are physical, experiential, heightened, based in extensive research, historically relevant, that illuminate the life underneath our mundane routines. My perspective comes from my training in Performance Studies at Northwestern University, my hunger to do whatever it takes to engage American theatre audiences and frustration with sitting for too many hours in dark theatres watching audiences dwindle and desiring more risk-taking in the work.
I partner with theatres, museums, corporations and other traditional and non-traditional venues to bring performance into unexpected arenas. My partnerships start with a conversation about the deepest desires of the commissioning venue. My goal is to create an unforgettable performance where the audience can experience the power of theatre when it unites everyone in an event that whisks us from our individual selves and into something bigger than any one of us.
I use the architecture of the space. I use music. I use everyday objects that transform in to epic symbols. I use the body. I use projection. The product is a highly crafted experience in which one can lose oneself and then find oneself at the edge of the oldest form of communication there is: the body telling a story in the present moment.
I stop at nothing to make sure the work is impeccable. Working in site-specific spaces forces you to creatively circumvent the many roadblocks which are inevitable. There is always more than one answer to a theatrical problem and I keep going until I find the best answer for all involved.
I partner with theatres, museums, corporations and other traditional and non-traditional venues to bring performance into unexpected arenas. My partnerships start with a conversation about the deepest desires of the commissioning venue. My goal is to create an unforgettable performance where the audience can experience the power of theatre when it unites everyone in an event that whisks us from our individual selves and into something bigger than any one of us.
I use the architecture of the space. I use music. I use everyday objects that transform in to epic symbols. I use the body. I use projection. The product is a highly crafted experience in which one can lose oneself and then find oneself at the edge of the oldest form of communication there is: the body telling a story in the present moment.
I stop at nothing to make sure the work is impeccable. Working in site-specific spaces forces you to creatively circumvent the many roadblocks which are inevitable. There is always more than one answer to a theatrical problem and I keep going until I find the best answer for all involved.
BIOGRAPHY
Mara Lieberman, in collaboration with Bated Breath Theatre Company, has written and directed every Bated Breath production since she took the helm in 2012. She wrote and directed Beneath the Gavel, Bated Breath's interactive art auction play which premiered Off-Broadway at 59E59 Theaters in 2017 and which will pop up at Feinstein's/54 Below in September 2018. Some of her other productions include The Un-making of Toulouse-Lautrec (performed in a secret location in the Flatiron District), award-winning Freedom: In 3 Acts, Wild Things: The Life and Work of Maurice Sendak. Lieberman has also developed Bated Breath’s museum series “Viewpoints and…” which brings the unique way Bated Breath makes theatre into gallery spaces to respond to installations. Most recently, Bated Breath responded to Nick Cave’s “The Let Go” at the Park Avenue Armory. Lieberman also leads the Bated Breath Physical Theatre Training Center which trains the next generation of theatre artists to respond to the changing landscape of American Theatre. Mara has directed at The International Festival of Arts & Ideas, The NYC Fringe Festival, and the American Living Room festival co-sponsored by Lincoln Center and HERE. In addition, she directed an adaptation of Virginia Woolf’s To the Lighthouse at New Georges Room.
