On March 3rd, Elisabeth will dance an extract of Simone Mousset’s new piece BAL at Trois du 3 at TROIS C-L, Centre de Création Chorégraphique Luxembourgeois.

httpss://www.danse.lu/evenements/3-du-trois/avril-2017/

Elisabeth is very honoured that visual and sound artist Phill Niblock invited her to create and dance a solo performance at his event at the Tate Modern. For this, Elisabeth will create a score based on her methodology of the ‘Sixfold Body’ and inspired by Phill Niblock’s films and music. The installation and the performance event is part of the Tate Live Exhibition and will take place at the end of March 2017.

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

During Elisabeth’s work stay in Korea, she was invited to dance in Seo Mi Jung’s Design – Collection. The designer works in the style of traditional Korean clothing. The films of the collaboration will be released soon on the designer’s webpage.

Thank you so much, Kaleidoscopic Arts for your interest in ‘Impressing the Grand Duke’, this wonderful interview and your continuous support for young artists!

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

 

 

Elisabeth safely arrived in Seoul and will now, together with her collaborator Alexander Ruth, start the creation of SIXFOLD at Seoul Dance Centre.

‘With their interdisciplinary Performance SIXFOLD the dancer and dance maker Elisabeth Schilling and visual artist and designer Alexander Ruth present a concentrated movement study between human being and object. The ephemeral and the constant connect in space, the lively and transforming dance meets an autonomous sculpture. Thus a relationship of resonance is created between space, music and bodies; fields, that don’t exist as seperated entities, but only develop their form and existance through the ‘being- within and in-between’.

SIXFOLD is a co-production of TROIS C-L, Centre de Création Chorégraphique Luxembourgeois and Silvio und Waltraud dell` Antonio-Kunsmann-Stiftung, Wittlich, furthermore supported by City Moves Aberdeen, The Studio, Shetland and Seoul Dance Centre, Seoul Foundation for Arts and Culture.

A fabulous review on Impressing the Grand Duke by 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/

Simone Mousset and Elisabeth’s production ‘Impressing the Grand Duke’ was named as highlight of Resolution festival by Rachel Elderkin in London.

‘Impressing the Grand Duke (★★★★) by Simone and Elisabeth offers something a little different. In contrast to the fluffy, pastel tulle costumes and the self-absorption of their characters, this is a refreshingly objective and tightly crafted work.

Racing through an array of choreographic devices Simone and Elisabeth attack the creative process and the challenge of establishing oneself as an artist with humour, flair and bold self-assessment. They make wry observations on the term ’emerging’ and the piece as a whole is stylish, fun and finely judged dance theatre.’

Link:

https://www.thestage.co.uk/reviews/2017/resolution-review-place-london/?utm_content=bufferd3325&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

On January 27th, 28th, Elisabeth will perform the preview performances of ‘The Mirror / Der Spiegel’ by Mamia Company in Helsinki, Finland.

‘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

On 27th / 28th February, Elisabeth will preview Mamia Company’s ‘The Mirror / Der Spiegel’ in Finland. She will share the stage together with Gesa Pieper performing a solo called ‘Jean Dark’.

More information on: https://www.facebook.com/events/658701247667296/

Mamia Companyn work in progress soolot:
THE MIRROR (Elisabeth Schilling) on soolo äärimmäisyyksiin menevästä kehollisesta narsismista.
Varjo on peili, jota ei koskaan pääse pakoon. Etsin paikan, jossa sitä ei ole. Minä olen sateenkaarikala ja kaikki rakastavat minua. Minunlaistani ei ole toista.
JEAN DARK (Gesa Piper)
“In my search for the holy, my heart burns. Against my wishes, this will kill me. My current life is a grave painted by my prayers. My prayers burn trough flesh and bone, my prayers are holy. O`hear how I pray for this life, that I hold holy. ”
Soolo perustuu pyhimykseksi julistetun Jeanne D`Archin elämään.
Onko Jean Dark nykypäivän meditointiguru/kokemusasiantuntija/charlataani/mielenterveyspotilasjonka maailmankatsomus muuttuu terrorismiksi ”vääräoppisia” kohtaan?

Koreografia: Nina Mamia, Elisabeth Schilling, Gesa Piper
Teksti, ääni, valo: Kasperi Nordman
Esityskieli: saksa, englanti, suomi

Pe 27.1 klo 19
La 28.1 klo 19
Vapaa pääsy.
Paikkavaraus: mamiacompany@gmail.com

Varsinainen ensi-ilta Vantaan Tanssin viikoilla 19.4. klo 19.

On January 13th, Elisabeth will perform together with Simone Mousset their piece ‘Impressing the Grand Duke’ at The Place, in London.

More information: httpss://www.theplace.org.uk/whats-on/helen-cox-john-ross-dance-simone-and-elisabeth

‘the artists make fun of the “emerging artist” – label and present us programmers with a critical view at the way we (would like!) to look at the “up-and-coming talents”. The audience and above all we, the professionals in the auditorium, were laughing heartily.’

Extract from a review by Ainhoa Achutegui, director of the Centre Culturel de Rencontre Abbaye de Neumünster Luxembourg.