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 an M.Arts. in Dramaturgy from HfMT Hamburg, a BA from the School of Philosophy from Ioannina University, and a Diploma in Theater and Performance from Delos Drama School and the University of Athens.

Expanding her dramaturgical practice, since 2025 her work has developed a research-oriented approach to post-digital artworks. Through the lens of dramaturgy, she inquires into the affective design of AI-mediated artworks, how technological infrastructures shape our experience of temporality and perception, and the potential of art as a practice of worldbuilding. Recent and upcoming related projects include her own Clocking (2026) and Signals (2025, Gallery21 Hamburg), a collaboration with the _.mootpoint collective.

Over the past years, she has collaborated on diverse projects in Greece and Germany. 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 (2023) 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. Further projects include White on White (2022, BAM! Festival at Volksbühne am Rosa-Luxemburg-Platz) by the _.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, work in the production team for the international festivals Permanente Beunruhigung and Republic Repair (Ballhaus Naunynstraße 2017 & 2018), as well as directing assistantships (Ballhaus Naunynstraße 2015-2017, Akademie der Künste 2013) and performing (Deutsche Oper Berlin 2014).

Additionally, she holds Certifications in Cultural Management and in EU Funds Project Management from the Deutsche Akademie für Management and 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-border collaboration strategies into her dramaturgical engagement.

...and above all else, there is nature.

She has also participated in rural-outdoor-setting residencies in Las Teouleres, France (2010), and Tokalynga, Sweden (2017), both oriented towards site-specific creative inquiries in outdoor contexts. These experiences, alongside with her personal memories of growing up in the Greek countryside, inspired her ongoing Horafi Residency project on Samothrace Island—an initiative cultivating daily living within the outdoor terrain, reflecting her long-standing connection with nature and practicing the social contradictions of both solitude and community-building processes.

Since 2026, she has been a member of Open Mountain, a social cooperative for collective and social welfare.