-
I believe performance can be a conversation—slow, physical, porous. I’m drawn to openings more than declarations; to work that lives inside communities, not above them. I value risk, care, and honesty. My pieces are built from the ground up, through rehearsal rooms that listen back: scores that test attention, images that hold weight, sound that breathes with the body. What matters is the rigor of the making and the generosity of the encounter.
*Full archival recordings of all works available upon request.
KEEPERS
A work of vigilance and signal, where bodies tend light and wait for response.
Keepers is a devised movement-based performance set in a post-collapse world where communication systems have failed and meaning is carried through action rather than language. Two keepers inhabit an old lighthouse still, functioning, though its purpose is unclear, maintaining inherited rituals, tasks, and signals whose outcome is uncertain.
The work is built through physical labor, repetition, relational attention, and minimal materials. Light and sound function as active dramaturgical forces, shaping perception and inner states. Language, when present, appears only in fragments. The piece invites quiet witnessing and shared listening rather than narrative resolution.
Upcoming Performances:
March 21st, April 4th 2026 (7:30 pm) @ PICA, Developed for Hand2Mouth NEW2YOU festival TICKETS
April 12th (2:30 pm), April 18th (3:00 pm) @ 2110 Theatre for Fertile Ground Festival TICKETS
Photo by Jason Okamoto
MorPhoLogY
How language begins.
MorPhoLogY is an interdisciplinary performance about how language begins. It starts with rain. Four artists approach the same phenomenon through movement, writing, calligraphy, and live sound. Each response exposes something about expression. The elemental shifts into mark, rhythm, and text. Language doesn’t arrive fully formed. You witness it taking shape: unstable, responsive, and alive.
Upcoming Performances:
April 19 at 2:30 pm, April 21 at 7:30pm @ 2110 Theatre for Fertile Ground Festival
Photo by Jason Okamoto
Conceived at CoHo Theater after a 6-month residency. The piece unfolded between stage and installation, mixing archetype, movement, and raw material.
Built with:
Duma Du (design), Jason Okamoto (sound/video), K.C. Renée (ceramics/installation)
Upcoming Performances (4th iteration): Fall of 2026
Full archival recordings available upon request.
SeattleDances — Offerings: Two Solo Performance Acts, 2025
Review of Harvest of Woman (BASE Experimental Arts + Space, Seattle)
Read Article
Oregon ArtsWatch — Stage & Studio: Harvest of Woman, 2025
In-depth interview discussing the development, methodology, and artistic context of Harvest of Woman.
Read Article
Harvest of Woman
A performance of clay, memory, and myth
(in development)
The Braided One is a Butoh solo that treats lineage as material. One braid—weighted and addressed as partner—moves through burden, weapon, record, shelter, and fate. The work examines the ethics of inheritance and the private labor it demands—resistance, argument, acceptance, refusal. Made for intimate rooms, it focuses on contact, timing, and the moment a tool becomes a bind (and back again).
Conceived during a 2025 residency with New Expressive Works (Portland, OR); currently shared as excerpts in select settings.
The Braided One is an early performance study investigating inherited memory and embodied storytelling, developed as part of the research that continues in The Place I’ve Never Been
Development & showings (2025)
Oct 4 — New York, NY — Arts Seed Lab #1 (hosted by RenGyoSoh Performing Arts), excerpt
Nov 2 — Newport, OR — Butoh Cabaret — Día de los Muertos, excerpt
Nov 9–10 — Seattle, WA — 12MM at Base, excerpts
Origin (2025) — Portland, OR — Conceived during residency at New Expressive Works
Photo by Jason Okamoto
The Braided One
“Olga Kravtsova’s The Braided One dropped us into a world of textures and tangles.”
— SeattleDances
Read full review →
Point of return
A body moves with something it cannot release. A weight. A thread. A memory.
A solo movement performance navigating the tension between desire and restraint—the longing to break free and the pull to return. A quiet reckoning with what we carry, what shapes us, and what we can’t let go of, even when we must.
*Developed through N.E.W. Expressive Works residency
Created and performed by Olga Kravtsova
With Hank Peterson — a silent presence, holding the rope
Music by Hillbase (Jason Okamoto), featuring Fata Morgana and Tamam Shud from The Summerton Man, plus original sound-based composition
Point of Return explored cycles of departure and return through physical score and image-based performance, forming an early stage of the ongoing research developed further in The Place I’ve Never Been.
Photo by Adrian Hutapea
Far From Home
A collaborative performance with Julia Rahmanzaei exploring migration, displacement, and identity. Blending movement, text, and physical imagery, the piece traces the emotional terrain of those caught between cultures—searching for home, struggling to belong, and confronting the silence of isolation.
A quiet, embodied reflection on what it means to live far from the place you once called home.
Created and performed by Olga Kravtsova and Julia Rahmanzaei
With Hank Peterson
Music by Jason Okamoto
Supported by Fertile Ground Festival and PDX Playwrights
Poster design by Jaclynn Froncza
Old Man
A movement-based theatrical work exploring aging, memory, and the slow erosion of time. Inspired by my father’s experience as an immigrant, the piece centers on an elderly man confronting the quiet weight of his past.
Created in collaboration with Hank Logan and Jason Okamoto, Old Man blends minimal text and physical storytelling to invite audiences into the fragile, often overlooked space between growing old and feeling out of place.
Created by Olga Kravtsova
With Jesimiel Jenkins, Hank Peterson, and Jason Okamoto
Old Man was developed within the creative process of Far From Home, emerging as a character-based study exploring memory, aging, and displacement through physical performance.
Photo by Jim Coleman
A solo movement work exploring the primal cry for freedom, inspired by the image of a bird trapped yet yearning to soar. Through raw, emotional physicality, the piece confronts death, release, and the fragile tension between surrender and survival.
A ritual of letting go: tender, visceral, and unresolved.
Created and performed by Olga Kravtsova
Music: Grass, Birds and Fogs by Mikhail Alperin, from Prayers and Meditations
Wailer
Lorca Woman
A theatrical exploration created as part of my MFA thesis at the University of Washington, Lorca Woman was inspired by Federico García Lorca’s The House of Bernarda Alba and focused on the theme of dependence.
The piece follows six women navigating societal and familial pressure: each shaped by expectations, silence, and inherited roles. Through physical performance, minimalist staging, and immersive light and sound, Lorca Woman reflects my investigation into identity, confinement, and atmosphere in performance.
Created and directed by Olga Kravtsova
MFA Thesis Project — University of Washington, School of Drama, 2023