So first, I mean, Villa 31 is just not a residency in Tirana. It was a super strong and a heavy place to be. Somehow it was a perfect place for my project, cause my project was related about power, authority, gender, death also, because the framework, the poetic framework I chose for the project was Hamlet, and the former house of Enver Hoxha was an incredible place for that also. Also, you know, when you arrive there, and the house, it was closed for many years, you realize that you are living in the former house of a killer. So everything is very heavy. […] I was dreaming a lot there. For instance, the first dream I had, it was about being poisoned. That probably is the trauma of every dictator, I guess. But I realized just after a few weeks. But every morning, I was writing all my dreams. I have to say, they were very vivid. I don’t have such vivid dreams, at least in the last time, but I’m used to have– I mean, to remember my dreams in general. […] And then it was also adding something to my work, because it was like, okay, since I don’t want to speak about– I mean, I want to take space from all the sensationalistic, exotic topics about burrnesha in the Western culture. It was also a very, to me, at least, a straight way to engage, an embodying, [to] embody the discussion, living this through the body and through the poetry. […] So, again, going, maybe, trying to use Hamlet, that it was poetic framework, but that is not from Shakespeare. Hamlet is from everywhere. Hamlet is from the legend of the North, in many, many, many years ago. There is also a Hamlet from Persia. There is a Hamlet of Amelia Rosselli. So it’s something that still, again, belongs to everybody, and is a rite of passage that talks about revenge, about gender, about death. So I think using the body is the possibility to work in a universal way.















