Kian Amadeus H. writes and designs performances, games, and seductions. As a theatre maker, they devote themselves to forms of audience participation and their aesthetic and political implications; as an author, they write texts for the diverse (stage) formats that Kian and their beloved accomplices develop together. A common thread running through texts and productions is a playful dissolution of language, identity and certainty – as well as a distrust of phallic storylines and common threads. Kian is part of ‘NIRGENDWIE’, ‘DAS FLAMMENDE FAGOTT’ and the management team of ‘Grube[n] – Garage für Zusammenkunft und zeitgenössische Kunst’ (Grube[n] – Garage for Gathering and Contemporary Art).
Sarah Calörtscher spends a lot of time in front of keyboards: she shapes sound on synthesizers and arranges words on the computer. After completing a bachelor's degree in music and movement, she studied dramaturgy at the Zurich University of the Arts (ZHdK). She works as an author, dramaturge and musician – often at the intersection of these fields. In her writing, she weaves scientific and hobby-philosophical yarn with absurdities from the fringes of the internet into textual material. Her play ‘Herz aus Polyester’ (Heart of Polyester), created in the Dramenprozessor, won the Kleist Förderpreis in 2024 and premiered at the Deutsches Theater. In 2025, ‘Die Rückkehr der Fährfrauen*’ (Stücklabor) premiered at the Lucerne Theatre. ‘DRILL BABY DRILL’ premiered at the Staatstheater Nürnberg and is nominated for the Swiss PLAY PRIZE 2026. As an artist in residence at Isoquant in cooperation with the Nationaltheater Mannheim, she is currently working on her fourth play.
Fabio Colledani is a visual artist who lives and works in Basel. His work operates at the intersection of technology, identity and media culture, combining video and performance in installation contexts. Fabio Colledani's practice reflects on the reciprocal relationship between processes of subjectification involving technology and the individual, using constructed identities and absurd self-dramatisations to question authenticity. Central to this is a critical examination of algorithmic systems, pop cultural aesthetics and the ideological dimensions of contemporary image production and its technological foundations.
Chih-Ying Lin, born in Taipei in 1991, moved to Europe out of curiosity about German theatre and has been living in Zurich since 2021. She studied stage and film design at the University of Applied Arts Vienna and completed an MA in stage design at the ZHdK in 2023 with the collective work ‘to end utopia / schönes Leben’. During her master's studies, she focused intensively on the interplay of stage elements as part of the stage design, as well as on lighting, which plays a role in the work as an actor in its own right. After working on projects in film and theatre, she is now focusing on further studies in collaborative spatial development. She is particularly interested in how collaboration works in everyday environments and to what extent theatre influences a larger living space in terms of both space and time.
Ophelia Theo Sullivan is a composer, music producer, DJ, vocalist and multi-instrumentalist based in Leipzig. Ophelia works at the intersection of electronic sound, band sound and orchestral sound. Ophelia's work is not limited to individual genres. The central idea is the juxtaposition and fusion of different styles. Beyond Ophelia’s own music projects, they have been working increasingly as a composer for theatre, dance and performance formats, as well as for film and other artistic media since 2019. Over the years, they have written music for productions at renowned venues such as the Staatstheater Mainz, the EinTanzHaus Mannheim, the Sophiensaele in Berlin and the LOFFT in Leipzig. Ophelia is particularly interested in interdisciplinary and transdisciplinary formats and pursues an experimental but thoroughly composed approach that primarily explores (musical) interstices and combines acoustic and electronic methods.
Klementine Medved (no pronouns) is a videographer who studied at the University of Hildesheim and has a passion for queer and political content. Klementine has worked with the queer-feminist performance collective CHICKS*, created video works for the TRANSEUROPA Festival and with MIGRANTIFA for the CLINCH Festival, among others. Klementine pursues experimental aesthetic approaches and working methods with borrowings from documentary film. In addition, Klementine has experience as a DP and camera assistant in various other genres, including commercials, music videos and films such as ‘INBETWEEN’ (2020), ‘JOCKSTRAP JESUS’ (2021), ‘BLAUPAUSE’ (2022) and ‘FESTGEFAHREN’ (2022).
The ‘INSIDE_OUT’ team already came together for a precursor to this project. The starting point was a fascination with the transfer of game formats into theatre spaces – for the promise of fun they hold and their entanglement in political questions of participation, influence, manipulation and emancipation.
