Fresh from the radio, the podcast of Elisabeth’s interview at Radia ARA can be found here:

Thank you to Natasha & Lisa for the warm welcome and invitation!


Image: Lisa McLean

Elisabeth will be live on Radia ARA (102,9 & 105,2 MHz) on Wednesday 14th March at around 1pm. She will share some news on her latest work SIXFOLD.


Photographer: Paula Faraco

A critic of Elisabeth’s performance of SIXFOLD in London was published in the London performing arts magazing ‘The Stage’. Written by journalist Rachel Elderkin, she describes the work with the following words: ‚It’s a quiet and slow burning work, but the intensity of her performance holds great resonance.‘

Elisabeth is very excited to have received the opportunity to participate in an event by one of her big heroes Dana Caspersen. Dana will lead an event on racism called ‘UNDER I STAND’ at the University of Southern California in Los Angeles.

March 6th, 2018: The University of Southern California, Los Angeles


Elisabeth will be featured in the upcoming exhibition by photographer Lynn Theisen in March.

More info: httpss://

Image: Lynn Theisen

In the coming weeks, Elisabeth will embark on a new research process together with designer & visual artist Mélanie Planchard. Supported by TROIS C-L, Centre de Création Chorégraphique (LU), Zsenne Art Lab (BE) as well as Sjönevad Arts Space (SE), the project’s aim is to explore synergetic potentials between dance and costume design. To this end, the dancer and choreographer Elisabeth Schilling and the costume designer Mélanie Planchard will examine, in an intensive cooperation, to which extent, in dance, textile objects are not merely props that step back behind human movement, but actants that enter into a reciprocal and creative relationship to body and movement. How can certain states and qualities of movement be translated from the body of the dancer, via the eyes and hands of the designer, into an object that itself interacts with the corporeal reality it encloses? And how does that corporeal reality, the body, react to this object, which touches it, only seemingly external and foreign, extending its surface? What new movements does this touching enable, and of what kind are the textures of meaning and sensibility that emerge once all objects become actants on the same plane, dancing together?

As these questions suggest, the research will begin from the phenomenon of touch: How can movements and materials, though apparently of different natures, touch? How can material textures be translated into movement? How do we move between senses (from vision to touch, from touch to vision, etc.), and how can one sense be transposed into another? The project will act as a laboratory for interdependent experimentation and invention, in which new and perhaps surprising forms of touching and sensing may emerge. If, in a narrow sense, touch is the (intentional or unintentional) contact established between two or more physical objects, our approach will be to investigate forms of touching that need not, or not necessarily, involve physical contact, proposing a form of touching that allows all senses to act in concert, allowing sensations to traverse sensitive media (movement becomes vision becomes physical sensation, etc.).

Picture: Martine Pinnel

From 13th – 18th February, Elisabeth will be in residency at Arbeitsplatz Vienna.

On February 19th, SIXFOLD will be performed at Raw Matters, Vienna. Moreover, Elisabeth has been invited to perform the work at the event ‘High & Low’ at 4bid Gallery Amsterdam on February 21st.

More info:



Image: Bohumil Kostohryz

Last Wednesday, 31st January 2018, a preview on SIXFOLD was shown on German television (ARD / Saarländischer Rundfunk).

From minute 13: httpss://

SIXFOLD will next be shown on February 4th at TUFA Trier. More information on httpss://

Image: Bohumil Kostohryz

By author Jon Seymour:

‘Dappled, its surface irregularities balanced; the strong side light suspending this luminous crescent in the dark stage blooms into a full sphere. This cosmology of concentration will open collapsed-time before our eyes and enfold us in a dance work whose beginning has not so engaged since E=mc2 from the 1980 Edinburgh Festival. And what is the music of this sphere? We will remain on the surface of sound; that is not the clue, it is the substance.  A trance has begun and will continue for more than twenty minutes; blink and you will miss it. First to change is the perceptual dimension: are we being drawn in or is this sphere in metamorphosis? It is changing in size without an interruption of stages; it is becoming as it grows. Then it is sudden, and so is our brief smile as a hand tickles out, then opposite a foot, a balanced imbalance of our memory of what is human. A leg shoots out atop at ninety degrees. The enclosure has burst. What squirms out is a tightly enwrapped form we know to be human, but made from the vibration we hear; so abstract it seems a living cell. It’s livingness is that most basic; an enraptured flesh slowly extending and unfolding. Form is content, a quasar of surface pulses into an eventual elongation that is at once the miracle of the human body and a singular luminous brush stroke of light painted in the dark. For the viewer, there are pleasures of a rippling musculature and spine which shake the shadows: here is mollusc and angel. Elisabeth Schilling; her name in six unfolding syllables, holds life out for inspection, suspending with nothing more than a rigorous physical discipline, our own selves and beginnings. And then in slow return, disappears as if all was only a stupor, leaving only dark and breath.’


Image: Bohumil Kostohryz