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Elisabeth freut sich sehr Ausschnitte ihres neues Stück ‘SIXFOLD’, kreiert in Kollaboration mit bildendem Künstler Alexander Ruth, im nächsten Monat, vor seiner Première im Mai, zeigen zu können.

Die erste Vorstellung wird innerhalb der Presse-Konferenz des TROIS C-Ls am 11. April stattfinden und die zweite Vorstellung am 19. April im Cercle Cité in Luxembourg.

SIXFOLD wurde mit freundlicher Unterstützung von Silvio und Waltraud dell` Antonio-Kunsmann-Stiftung, TROIS C-L – Centre de Création Chorégraphique Luxembourgeois, Seoul Dance Centre, Seoul Foundation for the Arts, Kulturstiftung Rheinland – Pfalz, City Moves Dance Agency, Scotland, The Studio, Shetland, Franje, Norway, Sjönevad Art Center, Sweden und Kunst Mainz! kreiert.

httpss://www.danse.lu/evenements/les-emergences/les-emergences-vol-4/

Elisabeth fühlt sich sehr geehrt, dass sie von dem Bildenden und Tonkünstler Phill Niblock eingeladen wurde, um für seine Ausstellung und Performance im Tate Modern eine Solo – Performance zu kreieren und zu tanzen. Basierend auf ihrer Methodik des Sechsfachen Körpers wird Elisabeth dazu einen Score kreieren welcher des Weiteren von Phill Nilock’s Filmen und Musik inspiriert ist. Die Ausstellung und die Performance sind Teil der Tate Live Exhibition und werden Ende März stattfinden.

httpss://www.tate.org.uk/whats-on/tate-modern/exhibition/ten-days-six-nights/night-three

https://artskaleid.wordpress.com/2017/02/17/emerging-or-impressing-the-grand-duke/

Herzlichen Dank, Kaleidoskopic Arts, für euer Interesse an ‘Impressing the Grand Duke’, dieses Interview und euer kontinuierliches Engagement für junge Künstler.

Ein weiterer fantastischer Artikel von Nicholas Minns:

‘Resolution is a festival of emerging artists, but for an explanation of the perilous stages of emergence there is no better guide than Simone Mousset and Elisabeth Schilling’s hilarious Impressing the Grand Duke. Having experienced the travails of ascending from ‘the deep and mysterious choreographic forest’ to ‘the deep inverted choreographic mountain’ they know how it’s done. Impressing the Grand Duke is told as a fable about an artist called Nymphadora who dances and dreams all day long in an obscure corner of the world. One day she receives a visit from the Grand Duke who recognizes her as an up-and-coming artiste, an original talent and future star and sends her on a mission to conquer the choreographic world. Nymphadora is played by both Schilling as Nympha, the stubborn, egocentric creative, and by Mousset as Dora, her harridan muse and business manager. Add the fairytale costumes by Mélanie Planchard and there are no limits to which these two consummate clowns will descend to deliver a satirical farce of the highest order. Despite Dora’s low opinion about their prospects (“Nympha, we are not getting anywhere in our art. You are always dancing the same dance….We have to emerge.”) the two manage to get through the various choreographic contests by squabbling or riffing verbally on their inability to choreograph. For Dora the goals are clear: international stardom, real visibility, real props and costumes, and sponsorship. For Nympha real costumes are trumped by the prospect of a visit from the Grand Duke.

They finally emerge (completely) to recorded congratulations against a Hollywood soundtrack so you can almost see the credits rolling up the screen as you reach for your Kleenex. Only one thing worries Nympha, who with devastating timing between the batting of her false eyelashes and the pouting of her red lips asks Dora, “And now?”

The choreography is ascribed to both Mousset and Schilling; not only are they natural counterparts to each other on stage but through their creative alchemy they anchor the theatricality of the work in a musical form. For last year’s Resolution Mousset and Schilling worked together on Their Past to the symphonic music of Yuri Khanon but for Impressing the Grand Duke music provides only the initial impetus. Schilling begins the work dancing with capricious delight to Claude Debussy’s Étude 10 pour les sonorités opposés, on pointe, and even when Mousset comes thundering down the aisle on to the stage she never disregards the music’s rhythmic structure. But when the Étude finishes, the work continues as a tightly coherent physical score with spoken and recorded texts, and the Hollywood finale. In Impressing the Grand Duke, Mousset and Schilling have added a delightful sense of humour to their musicality and ability to paint with dance, which makes them a creative duo to watch. All the more so now they have emerged.’

Link:

httpss://writingaboutdance.com/author/nickminns/

Am 27. und 28. Januar wird Elisabeth zum ersten Mal, als Work im Process – Arbeit, die Soloarbeit ‘The Mirror / Der Spiegel’ der Mamia Company in Helsinki, Finland zeigen.

‘Dorian Gray and Snow White’s stepmother made a baby called Milania de Vine. Meet her tonight & tomorrow at 7pm at Asematila, Helsinki in Finland. She can’t wait to have your eyes on her…’

Preview of a solo called ‘The Mirror / Der Spiegel’ by Mamia Company
Directed by Nina Mamia, Kasperi Nordman
Performed alongside a solo called ‘Jean Dark’ danced by Gesa Piper

More info: https://www.facebook.com/events/658701247667296/

Photo by Kasperi Nordman