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The creation process according to Karasińska
I try to make my productions ‘have an impact’ rather than ‘tell a story’. To make them into events that play themselves out in the here and now. I break down the ‘viewer–play–actor’ narrative so that people can really see and interact with one another.
When I do a production, I plan what’s going to happen for each of those taking part; the audience; and how to achieve this. I don’t think too much about the topic – the topic is merely one of my devices, a ‘cover’ for the mechanism I am setting in motion.
I am interested in using art as a means of getting people to let go.
In my productions, I try to keep the viewer in a state of ambivalence, amusement and alarm, continually fooling their intellect. By setting up unobvious situations, I try to make viewers slide into the absurd and experience freedom from being controlled by the intellect, rock-solid concepts, binding narratives and meanings.
I think that loosening up the notions of what we consider real and obvious is the most powerful tool to change the world.

Working with process:
In process work, as opposed to the dramatic theatre tradition, we don’t begin with a text nor a topic. We’re not interested in topics that have been previously formulated by others.
We search for content that “wants” to be expressed in a given place and a given time.
Process works with everything that appears and treats everything as material. It doesn’t favour any of the ways by which material comes to us -text, space, emotions, relationships, body, memory, and context all have their equal part in process.
Process is a type of question asked in space whose answer manifests through the participants.
Process, however, doesn’t base itself on the conscious expectations of the people creating nor their ideas of the future audience’s preferences. The fruits of process are its independent and not always comfortable content, often incorrect and rebellious.
Process work gives the opportunity to stand up to the ways in which we are unconsciously formatted by recognizing the hierarchy in which only conventional topics and intersubjectively communicable content is accepted as relevant.
Working with process, we create an autonomous and organic statement free from rationalization and trendy ideologies.
This method of working allows one to express oneself beyond the desire to be seen and the need to fulfil expectations. It rearranges our borders – it allows us to open ourselves up to intimacy and not be afraid of a deep exchange, while simultaneously not allowing others to decide what is or isn’t worth saying.