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Tessa Hart is an actress, director, producer and activist. She is the artistic director and founder of the Goblin Baby Theatre Co., a London-based activist theatre company not afraid to address taboos and set out to challenge the confines of conventional theatre.
Tessa has worked and trained in the performing arts internationally, including in Bali, Moscow, Berlin, Brussels and London, graduating from East 15 Acting School in 2011. She is fluent, and has worked, in English, German and French. In the past three years Tessa has acted, directed and produced at 0ff West End venues across London and also appeared in various screen projects.
What first attracted you to the theatre?
As far as I can remember, I’ve always been involved in theatre or the performing arts in some way. When I was about five I decided that when I grew up I wanted to be a story-teller. I was told that was stupid and not possible because that profession didn’t exist. When I was about 17 I realised it actually did exist and eventually went on to study theatre and acting.
If you could pick any one person or theatre company to work with on your next project, who/which would it be?
Based on what I’ve seen in the past year or so, Time Zone Theatre is a company I’d really like to work with. Their work is bold, innovative and international, so all things I like.
What is your opinion of Off West End theatre, in general?
Personally, I love the Off West End, because it gives me a place to be and create. But beyond that (rather selfish) reason, the Off West End just really gives a platform to so many fantastic and unique projects and offers opportunities to both emerging as well as more established artists to do something new or to do something different. It’s unpredictable and offers audiences a lot of versatility... and surprises.
What was the most inspiring performance you have ever seen? Why?
About ten years ago or so, again I was around 16/17, I saw a German production of A Dolls House directed by Thomas Ostermeier that came touring to Brussels, where I lived at the time (I think it came to London as well, to the Barbican). Besides the fact that it was a great production, the experience was ground-breaking for me because I experienced for the first time that theatre is allowed to break the rules and conventions. I saw that theatre doesn’t need to follow the academic interpretation of a text that we were being lectured on in classes, but that it can delve and explore further and make you question what you think you already know. That performance has stuck with me, I think, because that was the first time I really became aware of the type of theatre I want to make myself, although at the time, I probably wasn’t really consciously aware of that.
What piece of work are you the most proud of?
If I had to pick one... so far, it would be UNHEARD – A New Writing Festival exploring themes around sexual violence and abuse. It was a very small project in June 2013 at The Space, but it was very important to me and also the beginning of Goblin Baby Theatre Co., which now has lots of projects coming up in 2014. Most importantly, we made UNHEARD happen despite aggressive reactions, belittlements and even abuse coming our way, even for just announcing the project. Most of them were along the lines that sexual abuse should not be addressed in such a bold and direct way (usually put into much less friendly words than this) but that is exactly why I think it really does need to happen.
What things in your personal life do you draw from when you perform/direct?
I don’t intentionally set out to draw from anything specific but, at the end of the day, the theatre I create will always be influenced by my personal life, experiences and knowledge. That applies especially when I produce something as well, because I would not put a project together from scratch if I didn’t have a personal interest in it. And besides, between theatre projects and my day job, I don’t really have much of a personal life anyway, so it’s all kind of melted into one at this stage.
Are there any actors/actresses you would like to direct?
The ones I’m working with... and have worked with... and will work with. A very diplomatic answer, but seriously, there are many I’d like to work with or work with again, so it depends entirely on the projects I’ll be doing.
Musical, comedy or drama- what’s your preference to watch?
I have a preference for drama, or most of all a well-made comedy-drama. The best plays are the ones that make you laugh and cry.
Can you tell our readers about what you’re doing now/next?
With Goblin Baby, we’re currently working on RETOLD – A Fairytale Festival... without the 'happily ever after' which will present darkly comic, thought-provoking, and contemporary renditions of three traditional fairytales. We basically present three short plays inspired by the fairytales Rapunzel, Snow White and Little Red Riding Hood, each tackling topical and relevant issues. One plays deals with the difficulties the current young generation has trying to secure jobs and a future, another questions our obsession with beauty and outer appearances, whilst the third takes a look at the extent, repercussions and responses to violence against women. Long before Disney movie adaptations fairytales have been used to expose and criticise or warn of dangers. They’ve also always been changed and updated as well as adapted to the current world and time, so RETOLD sets out to continue that practice and offer some new, provocative and refreshing takes on these three.
RETOLD – A Fairytale Festival... without the 'happily ever after' will be presented at The Space from Tuesday 14th to Saturday 18th January 2014 and then transfer to the Hen & Chickens Theatre from Tuesday 28th January to Saturday 1st February 2014.
More information: www.goblinbaby.com/retold
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