About
Dimitra Thomaidou (she/her) is a Berlin-based dramaturg from Serres, Greece.
Her work approaches dramaturgy as the affective and perceptual design of an artwork, and as a practice of critical engagement that connects aesthetics with social and political contexts.​
She holds a MA in Dramaturgy from HfMT Hamburg, a BA in Greek Philology from Ioannina University, and a Diploma in Theater and Performance from Delos Drama School and University of Athens.
Expanding her dramaturgical practice, since 2023 her work has developed a research-oriented approach to post-digital artworks. This inquiry has allowed her to consolidate her artistic focus on the intersections between dramaturgy, emerging and advanced technologies—including Artificial Intelligence (AI), immersive media such as VR and AR, and AI-enhanced generative media tools—and affect theory. Through the lens of dramaturgy as an artistic practice—understood as the affective and perceptual design of a artwork—her research examines the ways in which post-digital artistic practices shape contemporary forms of subjectivation, attention, and perception, as well as how they negotiate, reproduce, and/or challenge structures of power in the age of AI. Recent and upcoming related projects include her own Clocking (2026), and Signals (2025, Gallery21 Hamburg), a collaboration with _.mootpoint collective.
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Over the past years, she has collaborated on diverse projects in Greece and Germany, developing a multifaceted dramaturgical and cultural engagement. She has contributed to dramaturgy and project development for works such as KappArt Festival (2024 & 2025 Andros Island, Greece); POWER SHAME (2023, DOCK11) and FOLK (2022 research lab), supported by THE NATIONAL PERFORMANCE NETZ-STEPPING OUT with funds from the Federal Government Commissioner for Culture and the Media within the program NEUSTART KULTUR Berlin, by Yannis Karalis; Requiem for Fanny Goldmann (2023, Athens & Epidaurus Festival | grape) by Zoe Chatziantoniou; in the same year she worked on her own research project Rolling In The Pink (2023), supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the program NEUSTART KULTUR Berlin; White on White (2022, BAM! Festival at Volksbühne am Rosa-Luxemburg-Platz) by _.mootpoint collective; In den Nachbarschaften der Welt by Twin Flames Ensemble (2022, Music Series Prachtwerk Berlin), supported by NEUSTART KULTUR Ensemble-Program; between 2018 and 2020, she collaborated as a dramaturg consultant with Ballhaus Naunynstraße. Earlier collaborations in Berlin include, among others, production team for the international festivals Permanente Beunruhigung and Replublic Repair (Ballhaus Naunynstraße 2017 & 2018), as well as directing assistantships (Ballhaus Naunynstraße 2015-2017, Akademie der Künste 2013) and performing (Deutsche Oper Berlin 2014). ​
She has also participated in residencies in Las Teouleres, France (2010) and in Tokalynga, Sweden (2017), both situated in rural outdoor settings and oriented towards offline and site-specific creative practices. These experiences reflect her long-standing connection with nature, fascination with solitude, and interest in community-building processes, inspiring her ongoing Horafi Residency on Samothrace Island in Greece—an initiative cultivating practices of attention, reflection, and embodied creation within the outdoor terrain, while rethinking subjectivity and creative agency in AI-mediated cultural ecologies. ​
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She, additionally, holds a Diploma in Cultural Management from the Deutsche Akademie für Management; and currently pursuing a Certification in EU Funds at emcra Co-shaping Europe. As a dramaturg and researcher, she approaches cultural debate as an integral part of the creative process, and aspires to integrate cross-boarder collaboration strategies into her dramaturgical practice.