Conversations in ten questions 94: Piero Issa & Ole Petter Knarvik

Atta, Turkey's first and only international arts festival for babies and children, organized around November 20th, World Children's Rights Day, since 2016, celebrated its ninth anniversary in 2025. Having welcomed numerous international groups to date, the festival unites babies aged 0–3, children and young people aged 3–18, their accompanying adults, and children and young people with disabilities aged 3–18 through theatre, dance, music, film, exhibitions, and interactive activities. 

This year's programme included a variety of performances, ranging from dance theatre for babies aged 6–18 to a new circus for audiences aged 4 and over, as well as dance and object theatre. Between 20 and 30 November 2025, performances by groups from Turkey, Finland, Denmark, France, Norway, Lithuania and Ireland were staged in Istanbul at the Paribuart, Arter, Barış Manço Cultural Centre and Hisar Schools Cultural Centre. 

In the second of our conversations with participants from the latest international edition of the festival, we spoke with Piero Issa and Ole Petter Knarvik, creator of the show SANS.

What do you think is the essence of performance?

For us, the essence of performance lies in presence and connection. Performance is a shared moment in time where performers and audience meet on equal ground. In SANS, this presence is created through listening, responding, and being fully attentive to what is happening in the moment. Performance is not about perfection, but about authenticity and human connection.

Do you believe in the transformative power of art? In what way? Yes, we deeply believe in the transformative power of art. Art can shift the way we relate to ourselves and to others. In SANS, transformation happens in subtle ways—when children move from observing to participating, from shyness to curiosity. These small moments of engagement create confidence, openness, and a sense of belonging.

When you are working on a piece, what sources inspire you? Do dreams play a role in your work? 

Our main sources of inspiration come from real encounters, lived experiences, and human situations. SANS was born from a spontaneous moment with children in Kabul, where limitations turned into creative freedom. We are inspired by play, rhythm, and the natural movements of children. Dreams are less a direct source, but imagination, intuition, and openness to the unexpected strongly guide our process. 

When do you decide to give a piece you are working on a title if it does not already have one?

A title usually emerges once the core of the work becomes clear. For SANS, the title reflects the absence of electricity, technology, and words, and points toward what remains: presence, the body, and human connection. The title comes when we understand what the piece truly is, rather than what it is trying to be. 

Is there an artist or person who you think has influenced your art the most? And if so, who?

Rather than one specific artist, we are most influenced by the people we meet, especially children. Their honesty, curiosity, and ability to be fully present have shaped our artistic approach. Working in different cultural and social contexts has also strongly influenced how we think about performance and participation.

Considering the current state of the world in every sense, what is the most important and urgent issue for you as an artist?

One of the most urgent issues for us is creating spaces for genuine human connection. In a world dominated by technology, speed, and division, SANS offers a moment of slowness, listening, and shared presence. Especially for children, it feels vital to create environments where they are seen, heard, and valued as active participants.

Is there a difference between creating a piece for children and young people and designing one for adults?

Yes, absolutely. When creating for children, we pay special attention to honesty, clarity, and presence. Children sense immediately if something is not authentic. SANS is designed to meet children on their own level—through movement, sound, and play—without explanation or instruction. Participation is invited, never forced, and the child’s response shapes the performance.

How has your show been received by young audiences in different parts of the world?

Despite cultural differences, the response from young audiences has been remarkably similar. Children everywhere respond intuitively to rhythm, movement, and play. Whether in refugee reception centres, schools, or festivals across different continents, SANS has been met with curiosity, joy, and active engagement. The simplicity of the format allows it to travel across borders and cultures.

How did you come up with the idea for your piece SANS, which we will see at the Atta Festival in Istanbul?

The idea for SANS came from an unexpected situation in an orphanage in Kabul. When there was no electricity available, the planned performance had to be reimagined on the spot. Through improvisation—using body percussion, voice, and movement—a strong sense of connection emerged between performers and children. That moment became the starting point for developing SANS as a performance built on presence, simplicity, and participation.

What are your impressions of the Istanbul audience?

The audience in Istanbul was open, attentive, and deeply engaged. The children entered the shared space with curiosity and trust, responding generously to the invitation to participate. The atmosphere felt warm and connected, confirming that SANS resonates across cultures and languages.

The Turkish version of this interview was published in unlimited.