InlanDimensions has established itself as one of the largest multidisciplinary networks that rejects distinctions between continents, instead building bridges between countries and cultures. Presenting a kaleidoscope of arts—from theatre, performance, dance, and cinema to music, literature, and visual arts—we bring together artists and audiences from around the world, launching co-productions and facilitating negotiations between venues and producers through professional language services.

In addition to its curatorial and production work, InlanDimensions also operates as an agency, representing artists and cultural projects internationally while supporting their development and global reach. While our central focus is on postwar to postmodern art, we do not break with tradition. Rather, we emphasize its transformations and its profound influence on contemporary forms.

We introduce audiences to the concept of Eurasian theatre, film, music, and literature as a fusion of diverse cultures and genres within a single work of art. Each year, we invite a spectrum of artists to contribute to a new dimension of this vast intercultural empire that stretches across borders.

When we speak of East and West, ambiguities inevitably arise, beginning with the question: Where does the East actually begin? And is it not the case that some populations deemed “Oriental” by others perceive themselves as Western? These questions were posed by figures such as Jerzy Grotowski, Allardyce Nicoll, Eugenio Barba, and Nicola Savarese. Professor Tokimasa Sekiguchi echoes them when he states: “What I wish to say is extremely simple. ‘Asia’ as such does not exist, and the term ‘Asia’ is unnecessary as a coherent geographical category with meaningful real-world components. My line of argument is simple as well. It is the facts themselves that do not uphold the term ‘Asia,’ but instead confirm that its use is redundant. On the contrary, applying this term warps our perception of the world in ways that are both difficult to avoid and harder to detect—and this distorted worldview ultimately distorts our self- knowledge.”

These InlanDimensions are, after all, where Arabs, Jews, Indians, Turks, Chinese, Persians, Mongols, Koreans, Malaysians, Japanese—and even Russians—live. How can one find a common denominator among any possible categories—geographical, demographic, linguistic, religious, or even culinary?

Alexander III of Macedon, the greatest of the Hellenistic rulers, did not live to see his political dream of conquering the Far East realized, but he blazed the trail for an immensely rich Eurasian cultural exchange. Hellenic-Buddhist sculptures in Gandhara on India’s frontier; plays by Sophocles and Euripides staged in Susa to mark the weddings of Greek officials and Persian satraps’ daughters; the vidūṣaka, the blundering fool of Sanskrit drama—these are just a few early glimpses into that inland, Eurasian melting pot.

The revival of Eurasian theatre traditions and the facilitation of extensive international cultural exchange have been made possible by the tireless work of all the Organisers, who have been pouring their heart and soul into this project, persevering through difficult and ever-changing conditions. Equally vital have been the Sponsors—and last but not least, the Audience, who, through past tumultuous years, have continued to support theatre and cinema venues, helping them weather the storm.

Jerzy Grotowski once said that the only thing necessary for theatre to exist is an actor performing to an audience in a space.

It is you who are the Dimensions that live Inland.