CONTEMPORARY APPROACHES
Interview With Director & Producer Maria Starostelets
“Find a mentor, there are many artists and producers in your field, who are genuinely willing to help. Don’t be scared to present your work to famous people even through social media”-Maria Starostelets
by Contemporary Approaches 7/6/2022
Q+A
Maria, you grew up in a circus family; how has that affected your life and career?
Maria: Circus performances often don't require a traditional venue. Some of the greatest shows I've seen were set in a parking lot or a park. Reusing and recycling props, costumes, and decorations, being mindful of your budget in most cases means being sustainable and eco-friendly. That's the greatest lesson I've learned.
How did live performances and theatrical arts transform at the beginning of the 21 Century?
Maria: Theatrical venues are gradually emptying. And the reason for this is not only the dragging pandemic and the financial difficulties of the public but also the major change in social roles and bonds, and the traditional artist-spectator relationship is not working as it used to. The audience doesn't really like to be passive anymore. Following the audience in search of new meanings, artists are leaving the traditional venues and spreading all over the urban environment. Modern directors choose unusual spaces as decorations: parking lots, shopping centers, libraries, factory workshops, and even public transport. The architecture and nature of such spaces, in turn, has certain conditions of existence, so the spectator becomes a participant, acts, makes decisions in order to develop the narrative.
You are a multidisciplinary creator and have projects in film, immersive experiences, and open-air events for large audiences. What are the key differences in directing a film from directing an immersive experience?
Maria: Shortly, it's almost as if you are inside your own film. You have to be aware of the sounds, smells, and all the visuals. All of those elements affect your storytelling. And the audience is your characters, especially if it's a performance without actors. So you have to think through all of the circumstances for the participants, their emotions and reactions, and how it affects the whole narrative. It's really an amazing, almost magical practice! Although you can't rewatch it on playback, like in film production, it's totally worth it.
What's the project you are most proud of?
Maria: Last year, I wrote and directed an immersive experience at a dinner table in a restaurant. There was only the narrator's voice, and the food was working as the visual for the storytelling. As you can understand, all the "props" were eaten. Jokes aside, I think it's the most sustainable project in my portfolio.
We admire your position because you advocate sustainable entertainment and arts that can improve the world. What's the responsibility of artists in social change?
Maria: Modern performing arts acknowledge cognition and dialogue as its main functions. It's an important step towards discussion on key topics, such as financial and environmental crises and adaptation to new living conditions within communities. Indifference and noninvolvement can lead to catastrophes in societies; we've all been witnesses of that throughout the past years. I believe that participatory and sustainable entertainment can teach people responsibility and awareness.
What advice would you give to a young girl trying to become a director and producer?
Maria: Find a mentor, there are many artists and producers in your field who are genuinely willing to help. Don't be scared to present your work to famous people, even through social media. And vice versa, help others. Find like-minded creators, build a community, help colleagues and aspiring artists, and be responsive. The Buddy system helps to overcome the first steps in artistic professions.
What are your next projects?
Maria: I'm writing an audio promenade for commuters on a metro line in one of the major cities of the world.