An Interview with Thomas Janssens on Autism, Creativity, and Finding Belonging in Theatre

Actor and director Thomas Janssens is a passionate advocate for neurodiversity in the arts. In this interview with Autism-Europe, Janssens shares his personal evolution as an artist, reflecting on how his understanding of autism – both before and after his diagnosis – has influenced his creative process and his vision for a more inclusive theatre landscape.

Can you share your journey as an actor and director, and how your experience with autism has shaped your relationship with theatre both before and after your diagnosis?

Before my autism diagnosis, I approached theatre instinctively, relying on structure and repetition to navigate complex social and emotional landscapes.

My diagnosis was a turning point. It helped me understand why theatre always felt like a safe space—its structured nature allowed me to express emotions and engage in human interaction in ways that everyday life often did not. This realization led me to create The Forest School, a theatre project that embraces neurodiversity and makes the stage a more inclusive space for autistic people.

Have you encountered situations where your autism has been perceived as a strength in your acting? Could you provide an example?

Absolutely. One of the most valuable aspects of autism is an intense focus on detail, which translates into deep character immersion and meticulous storytelling. In past productions, I have been able to bring a unique precision to my performances, crafting roles with layers of complexity that might otherwise go unnoticed.

For example, in The Last Journey of Donald Crowhurst, my ability to hyper-focus allowed me to embody the psychological unravelling of a man lost at sea with striking authenticity. Similarly, my tendency to analyze emotions from an external perspective has helped me direct actors with clarity, breaking down intricate emotional beats into digestible, structured steps.

Beyond performance, autism has given me a strong work ethic and a deep sense of loyalty to my artistic projects and collaborators. My brain naturally detects dramaturgical patterns, intertextual references, metaphorical structures, and wordplay—elements that enrich storytelling on both a textual and visual level. These cognitive strengths allow me to create theatre that is both structurally sound and emotionally resonant.

In your creative process, are there specific methods or environments that help you work more calmly and effectively?

Yes. I thrive in environments that balance structure with creative freedom. My process includes:

• Predictable routines – I establish a clear structure for rehearsals, allowing room for organic discovery while minimizing unexpected disruptions.

• Visual scripting and spatial mapping – I use diagrams and stage maps to conceptualize movement and spatial relationships.

• Low-stimulation rehearsal spaces – Bright lights and overwhelming sound can be challenging, so I prefer controlled lighting and acoustic setups. For The Forest School, for example, we rehearse in Franchise Unit, a pavilion in the park of the Middelheim Museum designed by artist Van Lieshout. This space provides a serene, structured environment that aligns with our neurodiverse-friendly approach.

• Mindfulness techniques – Meditation and breathing exercises help me manage sensory overload and remain present in the creative process.

Theatre is often regarded as a powerful tool for promoting the inclusion of autistic individuals in society. What has been your personal experience in this regard? Have you noticed a tangible impact on your well-being or social integration through your involvement in theatre?

Theatre has been a bridge between my inner world and the external world. It has provided a structured way to explore emotions, relationships, and social dynamics in a way that feels safe and intentional.

In my work with autistic actors, I have seen firsthand how theatre fosters self-confidence and social integration. Many participants in The Forest School have expressed that the stage gives them a space where they can fully express themselves without judgment. Additionally, the collaborative nature of theatre encourages teamwork and communication, skills that translate into broader social interactions.

What inspired you to create a play about autism? Which aspects of your personal experience did you aim to highlight?

The inspiration for The Forest School came from two key experiences:

1. My journey with autism and the realization that theatre has always been my way of structuring the world.

2. The historical story of Grunya Sukhareva, a Soviet psychiatrist who first described autism in 1926, only for her work to be ignored for decades.

By merging these narratives, I wanted to highlight the tension between history and the present—how autistic voices have been overlooked and how the act of storytelling itself can reclaim agency.

In your opinion, is the theatrical environment adequately inclusive for autistic artists? What specific adaptations or approaches do you believe could enhance accessibility for autistic people, both on stage and in the audience?

The traditional theatre industry still has a long way to go in terms of inclusivity. Many aspects of theatre—improvisational demands, high sensory environments, and rigid social norms—can be challenging for autistic artists.

To enhance accessibility, I advocate for:

• Flexible rehearsal structures – Predictability helps autistic artists thrive. Rehearsal schedules should accommodate individual needs.

• Sensory-friendly performances – Reducing harsh lighting and sound levels makes theatre more accessible for autistic audiences.

• Neurodiverse-led productions – Having autistic directors, playwrights, and actors at the creative helm ensures authentic representation.

• Alternative communication methods – Some autistic performers benefit from visual or written scripts rather than purely verbal instruction.

A major issue is that neurodivergence is often perceived as an obstacle. However, the stability, structure, and sense of security that neurodivergent individuals need are, in fact, beneficial for neurotypical people as well. It’s time for directors and theatre educators to shift their perspective—rather than seeing neurodiversity through a deficit-based lens, they should recognize its strengths and potential.

With The Forest School, we are pioneering a model where autistic and non-autistic artists collaborate on equal terms.

The SDIT project focuses on training theatre staff to better include autistic artists. What skills or awareness do you think are essential for theatre professionals to foster a truly inclusive environment?

Theatre professionals should be trained in neurodiversity awareness and adaptable creative processes. Key skills include:

• Understanding sensory needs – Recognizing that overstimulation can impact performance and well-being.

• Providing clear communication – Using explicit, structured instructions rather than relying on unspoken cues.

• Encouraging alternative creative approaches – Allowing autistic artists to contribute in ways that suit their strengths, whether through scripting, movement, or visual storytelling.

• Practicing patience and flexibility – Adapting traditional theatre methods to support different ways of processing and performing.

• Creating a safe and affirming space – Valuing autistic perspectives as assets rather than obstacles.

A crucial step towards inclusivity is ensuring that autistic voices are actively involved in decision-making. Too often, neurodivergent individuals feel like theatre professionals are speaking about them rather than with them. Having a director or educator with lived experience—such as myself—is a strong starting point for fostering real inclusion.