Bruno Listopad disjointed productions attempt to examine what performance is and what this can produce beyond traditional dramatic models. In these projects the body of the performer is not used as a vehicle of concepts, but as an arena within which concepts are generated by means of an encounter of diverse artistic collaborators that together generate a conceptual multiplicity which is immanent in the creative process. These projects are, in part, self-referential explorations wherein the subject matters that are addressed cannot be disassociated from the objective registration of the creative process. These works question the ontology of dance, choreographic necessity, and the relation of ethics towards aesthetics.
Bruno is convinced of the power that contemporary art has as an agent of social change. However, he is acutely aware that given the current consumer artistic economy this can only be possible through the mechanics of "self implosion". With his performances, he attempts to enquire as to the limits of representation by experimenting with the boundaries of speech, narrative and the blurring of the distinctions between reality and fiction. Exploring the aesthetics of high and popular culture, kitsch, the grotesque and the concept of failure. These performances question the accepted notions that the role of the artist is to ‘communicate’ and that an artist should have a unique handwriting. These utilize all sorts of means (movement, voice, text, recorded and live music) to articulate concepts further, dislocating its comprehension and exhausting modern dance's notion of essentialism. These projects explore several layers of performativity and, at times, attempt to generate "new" subjectivity in order to challenge orthodox notions of presence. By integrating all these elements together, these performances attempt to reproduce life’s continuities and disjunctions, capturing mankind desire for self-reinvention, rationality, and its inevitable collapse towards the irrational or nonsense.