This dissertation explores the mechanisms of hyperfocus in relation to the performing arts, both on stage during live performance and throughout the creative rehearsal process, from a first-person neurodivergent perspective. It does this primarily through rehearsing the play Märit by Malin Nord, based on Ing-Marie Eriksson’s 1965 novel. The aim is to map and articulate how hyperfocus functions within artistic practice, and how it can shape both individual expression and collective creative work. 

At the center of this investigation is the question: How does hyperfocus impact the creative process in performance art, and how can it refine and deepen artistic expression? As a director with lived experience of autism and ADHD, I explore how hyperfocus enhances presence, precision, and intensity in both rehearsal and performance. The work focuses on developing sustainable methods that support artistic clarity while caring for rhythm, recovery, and the cognitive system. 

This research also examines how neurodivergent expressions such as stimming can strengthen hyperfocus and fuel artistic energy. Through practical experiments and artistic reflection, the study cultivates neuroaffirmative working environments and reframes collaboration, expression, and inclusion. A central concept is the neurodivergent gaze—a way of seeing, feeling, and understanding that challenges dominant norms around expression, time, communication, and presence. 

Ultimately, this work refines my own creative processes while offering concrete tools to promote sustainability, innovation, and empowerment within the broader performing arts community.