Meet Zeta Theodorou, for Whom Theatre is a Universal Language
From Athens to London and back again, Zeta Theodorou has been on a path of artistic exploration, blending media, movement, and storytelling to create bold, visually striking theatre. With a background in Media Studies and drama training, she thrives at the intersection of personal narratives and universal themes.
During the Theatre in Palm Residency in Sofia, organized in cooperation with OECON Group Bulgaria, she embraced the challenge of cross-cultural collaboration, stepping outside her comfort zone to explore new creative processes. In this interview, Zeta reflects on the lessons learned from international theatre, the power of physical storytelling, and how this residency is shaping her vision for the future.
Can you tell us more about yourself?
I was born and raised in Athens, Greece but I left at 18 to go study Media in London. I did a lot of theatre at school and completed a work placement at the National Theatre in London after my Media degree, which rekindled my love for theatre and led to me moving back to Greece and enrolling full-time in Drama School. I love plays that combine strong visual elements with innovative storytelling, and delve into the intersection of the personal and the collective.
What was a performance that you’ve been a part of that you’ll never forget? Why?
As I find myself at the start of my journey, I cannot yet single out one specific performance that I would call unforgettable. Every production I have participated in has taught me valuable lessons and connected me to wonderful people. I am excited to see what the future holds!
Can you tell us about a challenging creative project you’ve been involved in and how did you manage to overcome these difficulties?
During my drama school training, I worked on a highly physical adaptation of Philoctetes, which pushed me beyond my comfort zone. The challenge lay in balancing intense physicality with emotional depth, something that initially felt overwhelming. To overcome this, I focused on grounding my performance in breathwork and rhythmic patterns, using movement as a direct channel for emotion rather than as a separate layer. The process taught me a lot about endurance, trust in my body, and the power of physical storytelling.
Given your experience living in different countries, how has your exposure to international theatre influenced your artistic vision?
One concept that has truly resonated with me is the distinction between the “international” and the “universal,” as Robert Lepage has pointed out. In my experience, theatre that authentically engages with local contexts and contemporary issues tends to have a more universal appeal—its specificity makes it relatable and meaningful across different cultures. In contrast, works that try too hard to cater to an “international” audience often become so generic that they fail to strike a deep, personal chord with anyone. This insight has shaped my artistic vision, encouraging me to root my work in genuine local narratives while aiming to address themes that speak to broader human experiences.
What do you hope to learn or accomplish by collaborating with artists from different cultures during this residency?
What I hoped to achieve through this collaboration was first and foremost to meet each resident and get to know their unique point of view when it comes to theatre-making. I really wanted to challenge myself to step out of familiar working methods and into a truly collaborative process. What I found very interesting was seeing how, even within this diverse group, we quickly agreed on what was a story worth telling.
How do you plan to incorporate your experiences from this residency into your long-term career goals in theatre?
I see this residency as a stepping stone toward building a more international practice, as I would love to do more work within interdisciplinary and cross-cultural settings. Beyond that, each one of the residents brought incredible new insights and methodologies, which I will definitely take with me and incorporate into my own process.
Is there a role you really want to play? Which one and why?
I don’t really have a specific role that I am set on playing, as I have been very interested in devised theatre and theatrical adaptations of literary pieces. What excites me most is contributing to the work of a strong creative team.
For the final – share with us a favourite quote of yours from a performance in which you’ve participated.
Melchior. Farewell, Moritz. Take my heartfelt thanks for appearing before me again. How many former bright days have we lived together during the fourteen years! I promise you, Moritz, come what may, whether during the coming years I become ten times another, whether I prosper or fail, I shall never forget you.
Moritz. Thanks, thanks, dear friend.
Melchior. — and when at last I am an old man with grey hair, then, perhaps, you will again stand closer to me than all those living about me.
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