In Rinde's words...

"I have been trying to build a theatrical logic that is fiercely interdisciplinary - a theatre that accepts various modalities of meaning and feeling without subordinating one to the other.
My work occurs on stage with lights and sound, and usually music, and is deeply concerned with language. Using various theatrical forms to say what I have to say, I am interested more in poetic gestalt than in narrative, though there is usually a central narrative that I treat as a kind of fugue subject or governing metaphor. I need to feel I'm learning with each new project, and that each work is a piece of a much larger puzzle.
I think I do my best work in an atmosphere of joy and critical thought, in that order. There is such a thing as soul and good theatre elevates it."

I wrote the above years ago.  It still seems true.

I’d add that I’ve grown to appreciate being lost, what a remarkable gift it is to be able to work in this way, not knowing quite where I’m going, trusting the wisdom of my colleagues and the skills I’ve worked to improve little by little.

I’ve grown to appreciate how difficult it is to achieve artful simplicity, that it’s not often quiet and uncomplicated.

I’ve become no less fond of the human comedy in all its bizarre and subtle manifestations. I’ve grown to value compassion, although it’s not a natural talent of mine.  I hope I’m less self-righteous than I pretend to be.  I’m attracted to deep irony, a fundamentally hot work. Cool irony just doesn’t seem dangerous enough.  

This is to say that my art is part of a larger ambition to come to terms with life, to be wise.

My influences are highly eclectic, my aesthetics, cosmopolitan, my methods, pragmatic.  

My loves are many.  You know who you are.
- Rinde (2015)