What actually is it?
How to Build the City is a three-hour live experience about how cities are built, broken, inherited and remade.
Inspired by The Epic of Gilgamesh, the evening moves through a series of different scenes using theatre, dance, storytelling, sound, live tasks, games, technology and audience interaction.
You might watch performers push themselves to their physical limits in a Tekken-style battle royale. You might follow a story unfolding on a Tube journey through VR, then find yourself helping to direct a chase using GPS. You could work with strangers to complete a translation game, play volleyball with people you’ve never met, or end up in a restaurant sharing a meal with another stranger and hoping they give you the password you need.
You might join a live run club, collecting letters from around the city in time for the final scene. Or something else entirely might happen. It’s all up for grabs.
At different moments, you may be invited to move, make a choice, join a team, offer help, follow instructions, solve something or respond to what is happening around you. You do not have to perform, and you decide how actively you want to take part.
It is not a traditional seated play. In fact, it isn’t really a “play” at all. You can watch, participate, step out, come back in, sit down when you need to and experience the evening in your own way.
Part theatre. Part game. Part night out. Part party.
Part live art. Part dance. Part comedy. Part spoken word.
Part music video. Part installation.
It’s every genre in one
city-sized kaleidoscope.
Sometimes you watch.
Sometimes you choose.
You might move, join a team, complete a task,
share a story, offer help —
or just sit and watch.
changes everything.
lives, loves, questions
or dreams in the city.
For the 9-to-5s. For the 5-to-9s. For the 24-sevens.
For people searching for something more. For people who hate theatre. For people who love theatre.
For people who want to dance. For people who want to cry.
For people who want to create memories with strangers.
For people who want to be left alone.
For people who are tired of the same old.
For people giving themselves a second, third, fourth chance.
For artists. For lovers.
This is everything, everywhere, all at once.
And you need to see it.
That’s the only way you know what it is.
Your visit.
Choose your performance below. The essential information is upfront; access, participation, content and practical details sit underneath if you need them.
The Steel Yard
Useful to know.
01 Experience + participation +
You may be standing for parts of the evening. Seating is limited.
You may be invited to move, choose, help or join a task. You never have to take part.
You can step away and return. You can also tap out of individual moments.
02 Access + comfort +
If you need a seat reserved, tell us in your RSVP or contact us before the event.
If you require a companion or support person, tell us when booking. Their place does not need to use your guest allocation.
A quieter space will be available if you need to step away from the main event.
03 Sound, light + content +
There are loud moments, amplified sound and club music.
The performance uses haze, strobe and flashing lights.
Strong language and themes or depictions of violence. Fuller guidance will be published before the performances.
04 Practical information +
Wear something comfortable that allows you to move easily. Avoid very long or trailing clothing.
There is a bar. Food is not provided as part of the event.
Audience photography and recording are welcome unless you are told otherwise during a specific moment.
Contact ariana@stateassuch.com or rachel@stateassuch.com before the performance.
Art as a playground.
state of the [art] is an anti-disciplinary creative arts platform and movement led by Munotida Chinyanga. We make live interactive events, performances, workshops, pop-ups and experiences that people can step into — part performance, part play, part social.
Our work brings together storytelling, participatory performance and audience-driven experiences. We are interested in who gets to make art, who gets invited in, and what can happen when participation and social interaction sit at the heart of the work.
Chaos as the method.
Munotida Chinyanga.
Munotida Chinyanga is a director, sound designer and anti-disciplinary artist working across theatre, sound and live performance. Her work explores participation, spatial storytelling and the activation of public spaces, reimagining how audiences engage with performance.
She is a Jerwood Live Work Fund recipient and a PhD researcher at the Royal Central School of Speech and Drama. Her directing credits include Gilgamesh, How to Build the City, The Gathering and Don’t Try This At Home.
How to Build the City is directed by Munotida Chinyanga and Simone Giustinelli.
Simone
Giustinelli.
Simone Giustinelli is an Italian theatre director, creative producer, and cultural project manager with over a decade of international experience across live performance, European cooperation, and site-specific work. As the founder and CEO of CREATIVA and Artistic Director of CASA CREATIVA, he develops multidisciplinary festivals, artist residencies, and innovative participatory frameworks.
Trained between Sapienza University of Rome and Middlesex University of London, his artistic practice seamlessly integrates digital performance, collaborative devising techniques, and civic engagement. Alongside his directorial work, he designs European cultural initiatives, facilitates public grant consulting, and leads social impact training across corporate settings, schools, and correctional institutions.