Suzanna Bauer

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The artist’s creative journey began with an early fascination for radio opera. As a child and teenager, they were captivated by science and experimentation — a curiosity that later evolved into an artistic pursuit. After completing film studies, they worked as an editor and cameraman in Paris, while also spending time in Norway and Berlin between projects.

In 2015, they became the assistant to Guillermo Pisani on the play LSDI. This experience marked the start of a deep interest in live performance — a form that balances artifice with tangible presence. In 2016, they began stage directing training at INSAS, where they explored various aspects of live performance including writing, directing, set design, and lighting.

During these formative years, they drew inspiration from artists such as Sofie Kokaj, Ingrid von Wantoch Rekowski, and Coline Struyf. This period shaped their interdisciplinary approach and strengthened their passion for theatrical experimentation.

Their work has since focused on original creation. They developed Hôtel – sans titre, a dance-theater piece exploring sleep and insomnia within the unfamiliar setting of a hotel room. In parallel, they began research on Viryle, a project confronting their personal notion of masculinity through encounters with men from diverse backgrounds. In 2024, they started writing a radio autofiction based on old voicemail messages, prompted by the recovery of a recording left by a police officer from the Nîmes juvenile squad.

Beyond their own creations, they also contributed to lighting and set design for numerous productions, including:

...And Nobody Else by Ahmed Ayed,
Ni Ni Ya Momo by Guilhem Chatir,
Home by Magrit Coulon,
Violences by Léa Drouet,
Recordar by David Mendez,
Ouragan et Écume by Ilyas Mettioui and Zoe Janssens,
Amer Amer and Collusiion by Jérôme Michez and Elsa Rauchs,
and g r oo v e by Soa Ratsifandrihana.

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