Caroline is a director and dramaturge working in multi-disciplinary participatory performance. With a background in social and environmental activism, Caroline’s work often focuses on current political issues, for example the semantics of screens in relation to the war in Syria, migration or the relationship between loneliness and technology. Using personal narratives, she works to find a performative language that will most powerfully communicate the heart of these stories. At the core of her work is a passion to give people who wouldn’t primarily consider themselves artists a platform to create great works of art. She seeks stories that matter and people who have something important to say. Caroline’s ongoing practice is to explore how the dramaturgy of reality can activate conventional theatrical forms.

‘ I want to say now that it is a performance — looking back — I increasingly value as particularly rare. I look back on it as one of the most insightful encounters I have had in a theatre.’ Theatre Voices on Caroline Williams’ Puffball

Caroline was one of the first artistic associates of The Yard Theatre in London. She was recently awarded a Somerset House Studio residency and chosen by the Victoria and Albert Museum to represent the UK at the Prague Biennial with her performance installation Shakespeare’s Fools.

‘Caroline’s work is clever, layered and moving. She is an important voice in British theatre.’
Liz Moreton, Senior producer, Battersea Arts Centre.

Projects include You Do Not Have To Say Anything at The Yard, Now Is The Time To Say Nothing at The Young Vic, Can You Hear Me Now for MAYK, Make Yourself At Home at Nuit Blanche Brussels, Millions of Years for English National Opera at The British Museum, Dad Dancing with Second Hand Dance and Puffball at The Yard, Shadwell’s Tempest and Le Malade Imaginaire with OAE at Shakespeare’s Globe.

Caroline delivers outreach projects for award-winning theatre company Improbable and is currently a resident of The Pervasive Media Studios, Bristol. She is currently one of the Leverhulme Scholars on attachment to Bristol Old Vic.

‘Strange, detailed and deeply personal, it speaks straight to the heart of our fragile, fearful souls. Tiny and epic, contemporary and timeless. I love this piece.” Emma Rice on Caroline Williams’ Puffball