Sustainability in Applying the Autobiographical Theatre MethodologyBy Lia Codrina Conțiu, University of Arts, Târgu-Mureș

Autobiographical theatre has emerged as a powerful methodology for fostering resilience, creativity, and self-expression among diverse groups of young people and adults. Through the JANUS project, four organisations – University of Arts of Târgu-Mureș, SOLIS srls, Fundația Professional, and Shipcon, – experimented with its stages: Trust, Story, Transcription, Research, Narrative-Fictionalization, Aesthetics, and Theatre. Their experiences provide valuable insights into both the strengths and challenges of applying the methodology in different contexts, as well as its sustainability.

University of Arts, Romania

For the University of Arts, the methodology fits naturally into a higher education environment where students are accustomed to creative expression. Stages such as Research and Aesthetics were particularly valued, while Performance sometimes raised concerns about emotional exposure for younger participants. Future application can benefit from alternative formats – multimedia, installations, or symbolic stagings – that allow for self-expression without requiring full vulnerability on stage, especially for very young people. Sustainability is strongest when the methodology is embedded into curriculum design and enriched through peer-to-peer facilitation.

SOLIS srls, Italy

SOLIS highlighted the methodology’s potential to act as a holistic cultural and relational practice. Trust, Story, and Aesthetics were widely achievable, while Transcription and Performance required more flexibility. Participants suggested digital storytelling tools such as video and podcasts to widen accessibility. For long-term sustainability, SOLIS stressed the importance of trauma-informed facilitation, ethical safeguards, and embedding the methodology within community projects and European collaborations, ensuring that it continues to support vulnerable youth in a safe and empowering way.

Fundația Professional, Romania

In school settings, the methodology proved more challenging. Students found the stages of Trust, Story, and especially Transcription to be difficult, reflecting both literacy barriers and reluctance to share personal experiences. Yet when adapted through play, drawing, and symbolic storytelling, the approach fostered creativity and resilience. Teachers highlighted the motivating power of Aesthetics and Performance once trust was established. For sustainability, investment in teacher training and the creation of modular, accessible activities will be key to ensuring the methodology can thrive within formal education.

Shipcon, Cyprus

Shipcon’s work with young people in community and NGO contexts revealed the importance of flexibility. While Research, Aesthetics, and Performance were seen as engaging, the stages of Trust and Narrative-Fictionalization were more divisive, with some participants struggling to alter personal truths. To address this, facilitators experimented with symbolic and metaphorical approaches. Sustainability here lies in offering alternative performance outlets (such as film, exhibitions, or symbolic stagings), building peer-support networks, and linking autobiographical theatre to community and social issues, making it relevant and safe for participants.

Cross-Cutting Insights

Across the four organisations, several common threads emerged:

Trust, Story, and Transcription are the most challenging stages, especially in school contexts.

Research, Aesthetics, and Performance are the most appreciated, motivating participants to connect their stories with wider social realities.

Narrative-Fictionalization remains the most polarising stage, requiring flexibility and creative alternatives.

Sustainability depends on context-sensitive adaptation, trauma-informed facilitation, and integration into existing structures (curricula, school activities, NGO projects).

Universitatea de Arte Târgu Mures (Romania) Contiu Lia #JANUSProject

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