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Time perspectives: Performer: Louise Frank, Filmmaker: Sharon Reshef Armony, AST-Bytom, Poland 2015


My practice inspires thought and gives rise to new forms of human expression at the interaction of media and emerging technologies; between artists, across disciplines.


I seek for the sensorial experience, particularly the worldview and set of values inherent in observation. My artistic endeavour focuses on what we choose to see in a complex and multidimensional sphere, and the personal interpretations derived from our patterns of observing. 

I provoke questions by disrupting the experience of time, to interact real and metaphorical spaces of the human consciousness and in human communication.


By this practice I find ways of expressing the rapid and deep change we experience nowadays, but also the ethics and aesthetics implications of the fragile trust in human communication.

The multiperspectivity in ScreenStage embodies a maze of mirrors that questions and undermines the known; what sometimes appears as the political relationships with society and the world as a field of co-existence.

I challenge what I consider ‘logic’, to understand ‘illogic’ as a possible state of being.

ScreenStage: a hybrid intermedial practice


Since 2014-15 I have been researching my practice of ScreenStage concept within a PhD thesis in PaR method ('practice as Research'), supervised by Prof Vida Midgelow and Prof Paul Cobley. The research is held at Middlesex University, London, UK, in the School for Media & Performing Arts. The title of my research:

I'M NOT A ROBOT - Activating perception in ScreenStage performance practice


This PaR proposes to develop and articulate creative strategies within a hybrid-intermedial form that integrates stage performance and screening. The strategies aim to activate ‘perception’ by intermedial hybrids.

The angle of writing my doctoral research is based in acknowledging my own artistic practice as a self-study within a specific artistic form, in which I self-reflect and engage in human communication as state-of-being. This entails enhanced awareness, analysis and formation; by means which are considered scientific (documentation, analysis and application), I embody, develop and contextualize this practice. This process is significant in a wider sense. I share the core of the practice and its target, its condensed formal essence. In this way, I participate in a contemporary social movement that is motivated by exploration and reflection of our life. As part of my research I submit two ScreenStage performances, based on creative processes, which I've developed in Tel Aviv, in Bytom Poland, in Berlin and in London.

Practice as Research


Interdisciplinary art can trigger questions and create links between sensuous, emotional and mental processes that are unfamiliar; to question, even doubt, what's taken for granted.


My hybrid practice touches the core of separation and control and can bridge between states of consciousness and being.


As we're being manipulated by creative, sophisticated, visible and hidden forces, our ability to choose and act is the only kind of freedom we actually own. With my actions and practices I strive for a sincere and deep exploration with a sense of direction, to lead me through complex perceptions of reality.


International collaborations are essential to my practice, they create a unique and important meeting point between approaches and views, and impact the performative language. My international approach is now challenged by the ‘COVID era’, and my experiences unfold as a new field of invention and exploration.

My Intentions and Motivations

The Making of the LIFT

Concept & director, performer: Sharon Reshef Armony
Co-dramaturg & performer: Tomer Zirkilevich
Videographer & editor, video model: Juan Enrique Villarreal

HIER=JETZT residency, July 2019
Funded by TanzTendenz Munich, Germany

Also explored & developed as part of my PhD research within Studio laboratories, in collaboration with AST Bytom, Poland; MA Academy Katowice, Poland;

Grove studios Middlesex University, London, UK.

Practitioners: Dariusz Seweryn Nowak, Jakub Kruczek, Agata Jędrzejczak, Julia Testa.
Filmmaking advisor: Galy Reshef
Video Installation advisor: Ben Turnbull
Artistic advisors: Jacek Łumiński, Janusz Skubaczkowski
Academic supervision: Prof. Vida Midgelow,

Prof. Paul Cobley; Middlesex University UK

Verbal / nonverbal

Hierarchies of texts and subtexts - explored.

Practitioners: Karmit Burian, Yiftach Mizrachi


Dance-SMKB, Tel Aviv

January - February, 2016

Man Rides Backwards

Live-cinematic hybrids

Performer: Adi Schlesinger

Videographer: Galy Reshef


Exploring ‘Dream and other state of being’

ScreenStage practice laboratory

Dance-SMKB Tel Aviv & Ma’agan Michael, September 2016.

ScreenStage Solo / Duo

Scales, deconstructed body image, texture and structure, body projection

Performer: Agata Jedrzejczak

VO/videography: Mateusz Matejowy

AST Bytom, Poland, October 2017

Dreamer's Pov

ScreenStage keys unfolding.


Nofar Oved, Adi Schlesinger, Nir Vidan

ScreenStage practice paboratory

Dance-SMKB, Tel Aviv, February-March 2017

Exploring live & cinematic conventions


Karmit Burian, Yiftach Mizrachi

Dance-SMKB, Tel Aviv, January-February 2016

Excerpts of improvisation sessions

Practitioners:Yiftach Mizrachi, Aviram Sa’ar, Sharon Reshef Armony


Dance-SMKB, Tel Aviv, Fall 2015

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