Her work is characterized by collective processes. They arise as piece developments or on the basis of new drama by authors such as Anna Gschnitzer, Dino Pešut, Miroslava Svolikova or Anaïs Clerc. Her working method is characterized by close collaboration with stage and video artists such as Shahrzad Rahmani (Guerilla Architects), the video collective Hand mit Auge, Nicole Marianna Wytyczak and Raissa Kankelfitz.

 

She likes to experiment with spaces that require new ways of playing, languages, audience situations and perspectives. Music and sound are central to all of her works. Some of which are at the interface between installation, performance and classical stage play. Her directing is usually characterized by a particular passion for the precise development of characters, which is why her style has been repeatedly classified as "post-post-dramatic theater."

 

While completing two diploma courses in theater, film and media studies as well as international business and social sciences in Vienna (AT) and Southampton (GB), Isabella Sedlak completed several training courses in the educational field. As a trainer for group dynamics and social skills, she worked with disadvantaged young people and co-founded a feminist institution for girls* in Vienna, where she headed the creative and media department. As a musician and singer, she composed her own music and regularly appeared on stages and in recording studios with bands and solo projects. After working in the film and television sector in Austria (e.g. Golden Girls FilmproduktionsGesmbH) and England, as well as longer stays in London, Colombia and Mexico, she moved to Berlin in 2013 and has since worked mainly in the theater sector, where she can bring together her diverse experiences and interests.

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She assisted at the Deutsches Theater and Maxim Gorki Theater in Berlin and worked closely with directors such as Yael Ronen, Lola Arias, and Sebastian Nübling. She co-directed with Ersan Mondtag several times and performed on stage herself. In a very international environment, she gained extensive experience in the field of scenic and autofictional writing, "devised theater," and the use of multilingualism on stage and in the rehearsal process. Since 2019 she has been working as a freelance director.