My ultimate artistic goal is to transfer and empower the lives of my collaborators, writers/performers/technicians, and spectators who attend my performances.  During the process of directing a play, I strive to build a community amongst my collaborators and a living connection to the community in which they live.  My creative work, in process and as a product, expresses itself outside the normative artistic/social box, and I encourage my cast to think and express themselves as organically as possible.
        I consider myself a facilitator rather than a traditional director.  I try my best to create a safe artistic environment that helps me and my cast addresses personal growth issues (e.g., race, gender, etc.) in relation to the material on which we are working.  I make sure to dedicate the beginning of every rehearsal period to creating a cohesive and a comfortable environment for myself and the performers to work collaboratively within.
        My creative work blends theory with practice.  I encourage the performers to do their own research on the text individually.  I also help in facilitating group research exercise where I lead discussions, guide collaborative problem solving exercises, and provide demonstrations that connect research to practical knowledge.  I frequently employ contact improvisation, action theatre, and physical activities to help performers fully embody the text.

        I am incredibly interested in working on original plays.  My most successful directing credits have been developed in collaboration with playwrights who have trusted my artistic vision. The playwright for me is a collaborator outside the rehearsal space and a critical spectator inside the rehearsal room.  I consider the text to be a starting point for new discoveries that are best achieved during rehearsal period.    

          Finally, I contextualize my work within the community it is going to be performed to.  I find channels of collaboration between my cast and local schools and social centers.  Members of the local community are invited to witness the rehearsal process on specific occasions and my cast members are encouraged to lead theatre workshops with local communities on issues addressed in the play I am directing.  I look at my directing work as a connecting bridge between arts, scholarship, and civic engagement.

List of Directed Productions

Dream Sequence. Devised and directed by Fadi Skeiker. David Cohen New Works festival. Performance Studio. Austin, TX. 2009.

Kaleidoscope. Devised and directed by Fadi Skeiker. FronteraFest. Mi Casa Es Su Teatro. Austin 2008

Little Read Riding Hood by Kyle J.Schmidt presented as a part of "Once Upon a Weekend" Department of Theatre and Dance at The University of Texas at Austin 2007

Sycorax  by Susan Todd. David Cohen New Works Festival. Performance Studio. Austin, TX.  2007

Week #10 of 365 DAYS/PLAYS by Susan-Lori Parks. The lobby of the Winship Theatre Building, The University of Texas 2007

Guantanamo: Honor Bound To Defend Freedom by Victoria Brittain and Gillian Slovo. UT School of Law. Rapoport Center for Human Rights and Justice. October 2006

Rats by Micah Sampson presented as a part of "Once Upon a Weekend." Department of Theatre and Dance at The University of Texas at Austin 2006

Love Songs from Persia. Translated by Robert Bingham.  Molotov Lounge, Austin, Texas. June 2006

Grub and the Earthworm Girl by Martha Lynn Coon. Presented as a part of "Once Upon a Weekend." Department of Theatre and Dance at The University of Texas at Austin 2005

Penguin Blues by Ethan Phillips. Emerson College. Boston, MA 2004

Ohio Impromptu by Samuel Beckett. Emerson College Boston, MA, 2003