Elisabeth Schilling is seeking 1 female and 1 male dancer to join her next group creation « HEAR EYES MOVE. Dances with Ligeti » – a choreographic interpretation of the Etudes pour Piano by composer György Ligeti. The work will be a quintet of dancers. Brian Ca will be choreographic assistant to the creation.

The piece is co – commissioned by Les Théâtres de la Ville de Luxembourg, Kunstfest Weimar, Mosel Musikfestival Germany and furthermore supported by Philharmonie Luxembourg, TROIS C-L Luxembourg amongst others.

We are looking for dancers who have a solid ballet and contemporary base, as well as improvisation skills and a diversity of movement textures and qualities. A strong stage presence as well as the ability to work within a team is vital. Ideally dancers should have an interest in contemporary classical music and strong musicality. We are interested in hearing from dancers of all ages, looks, body types and with unique movement qualities.

Important : Applicants must have a working permit in EU country. Unfortunately the company won’t be able to acquire a VISA.

Applicants must be available on all of these periods :

Rehearsals from 06th July 2020 to 07th August 2020 included, and from 2nd November 2020 to  17th December 2020 included.

More dates for international touring in 2021 / 22 in planning.

Rehearsals and performances will be paid in line with rates for international projects. This is above equity rates in the UK and Germany.

The company will cover travel expenses and provide accommodation for the full contracted period.

The company will hold auditions, in

Luxembourg: AUDITION 14th / CALLBACK 15th March 2020

Berlin: AUDITION 23rd / CALLBACK 24th March 2020

Glasgow: AUDITION 4th / CALLBACK 5th April 2020

The company won’t cover applicants travel’s expenses for the audition.

To apply please send an e-mail to audition@elisabethschilling.com, including CV (no more than 2 pages), 1 portrait, 2 dance photos, and 1 video of maximum 3minutes. Please state the city where you would like to audition in the subject of the e-mail. Deadline for applications : 29th February 2020, at 10PM.

Due to limited places according to security rules in each venues, audition will be held by invitation only.

The audition is free. There is no audition fee.

We would like to precise that all applicants will receive an answer.

For more information about Elisabeth’s work, please check www.elisabethschilling.com .

Photography: Bohumil Kosthoryz

 

‘One second it’s there…’

Movement, time, space and the art dance in galleries and museums

A response to the event by Emmie McLuskey. 

Here you can find a record and response to a day of talks, provocations, lectures and performance work instigated and produced by Tim Nunn, Elisabeth Schilling and Simone Stewart on the occasion of Schilling’s performance of ‘FELT’ at Glasgow University’s Hunterian Gallery. 

‘As with any event, it’s hard to relay or communicate an explanation or response to whole day of discussion, performance, participation and lectures in a written form.

In the programme for the day I was listed as the rapporteur, after googling what this meant ‘a person who is appointed by an organisation to report on the proceedings of its meetings,’ I tried to think what that might look like. Knowledge and the accumulation of it, is so often built into hierarchies, a written one being privileged over a v isual, a visual being privileged over a felt one etc. Documentation of performance practices posing endless problems and solutions. I wanted to attempt to record and pass on the information shared that day as best I could, a subjective perspective on what surfaced for me, my thoughts appearing throughout,
exploring formally how these knowledges intersect and depart from each other.’

EmmieMcLuskey

 

Image: Martine Pinnel

 

Elisabeth’s TEDx Talk named ‘How to Experience Art: a guide to being creative.’ is now on the TED Website and available to watch here.

Image: Dominika Montonen-Koivisto

Elisabeth is currently on a residency in Finland, where she researches and works towards new projects to be developed in 2020.

Workshops and performances are in planning. Dates will be published soon.

8 Premieres

53 Performances

20 Cities

7 Residencies

5 Countries

Over 250 participants in workshops

1 Symposium

1 TED Talk

1 Dance film

2 Presentation

2 Publications

 

…we would like to thank everyone who visited one of our events, who supported and inspired us. 2020 will be a year full of ambitious projects and we are looking forward to welcoming and be accompanied by you on our paths, adventures and plans.

 

Elisabeth Schilling and her team would like to wish everyone a most wonderful holiday season, hopefully filled with harmony and peace.

 

Our office will be closed for some days and will reopen already ‘between the years’ to prepare new adventures. We are looking forward to take you with us yet again…

Elisabeth has been invited to give a Talk at TEDx Women in Luxembourg City.

The event will take place at the Hemicycle European Convention Centre in Luxembourg from 1-6pm.

Details will be published closer to the date.

Photo: Bohumil Kosthoryz

For the 12h Non-State Parade / International Symposium of Cooper Gallery Dundee on 30th November 2019 Elisabeth was invited to create a response to the ongoing exhibition by artist Jasmina Cibic. Together with her team, Elisabeth created the concept named ‘Anthem Moves’.

The movement score will be developed from research on the implicit and explicit rules of behaviour – as well as their breaching – while anthems are being played. How do people behave and move? Which modes of affirmation and critique do they develop for these occasions? While the standard image of the body during the national anthem is certainly that of a static and reverential servant, the actual body is traversed by micro- and macro-movements, shown in facial expressions, body language and gestures, both conscious and unconscious. From these movements, captured uncountable times, the score will develop a language to express a wide range of political affects in a minimalistic and often static, statuesque style.

The musical score will be composed by Andréas Papapetrou, who, after research into official and inofficial anthems and their political and musical histories, will draw on existing anthems to create a new score, taking keys, harmonies, rhythmical structure and general pompous and officious qualities as a starting point.

The work will be dramaturgically supported by Moritz Ganzen.

Photo: Cooper Gallery

In December, Elisabeth will dance ‘The Nutcracker’ with Company Hannah Ma Dance.

Performance dates are:

December 11th and 12th: Landesmuseum Stuttgart (https://www.landesmuseum-stuttgart.de
December 18th and 19th: Tuchfabrik Trier (https://www.tufa-trier.de)

 

Presse on ‘Sketches on Ligeti’ at Wonder Women Festival Lucca, October 2019.

Original article in Italian:

http://www.losguardodiarlecchino.it/2019/11/alla-ricerca-di-complessita/?fbclid=IwAR1IrQZwIoW6Nx6tnKNQwDlUcJUYhcks97TdDDnSUDo7Pp4F8j3vkW5wOe4

Article in English:
This is the context for Sketches on Ligeti, a show of music and dance that gives life to the first book of études by György Ligeti, composed between the eighties and early 2000. Cathy Krier plays the piano wrapped in a simple black dress that covers the whole body, her bare feet on the pedals. Elisabeth Schilling, dressed in white, dances, also barefoot. Rhythmic-melodic structures are superimposed to create a deliberately complex musical system, seemingly confusing yet incredibly ordered. The music is regularly interrupted to signal the beginning of a new theme, with which the dancer dialogues. The refinement of both the sound score and the choreography make it difficult for the observer to remember the structure of the various paintings, whose potential clarity fades into a deliberately approximate form (sketches, sketches). The first theme is characterized by movements of compression and decompression: the body is nervous. After the silence, the muscular anatomy seems to change, the body stretches and widens, then changes again, following the direction suggested by Krier. The snapping of an articulation, the crunching of the wooden floor, the breathing that becomes tiring naturally interweave in a plot that is defined little by little: the texture, the structure on which the representation is based, is stable, but within this rigidity a significant space is delegated to improvisation, and one has the impression that this is precisely what defines the meaning of the performance.
Confronting oneself with a semiotic body using a (verbal) language that is not necessarily appropriate for it creates a problem in itself. In undergoing an aesthetic experience, the most constructive attitude is perhaps to temporarily give up the need to interpret. It is the innocent vision, a sort of suspension of judgment, that allows access to knowledge that passes from emotional understanding to rational understanding. Ironically, the more words we have to talk about a work – the more “we understand”, in short – the less we manage to get involved, to strip ourselves of our proud intellectualism.
Since this is a language to which we are not very exposed, and which therefore does not seem to understand, during the vision we do not pretend to decode the gestures of the dancer: we grasp the body in all its complexity, trembling in the tension between one movement and another, apparently relaxed for a single moment, ready to react to stimuli without slipping into the automatism of muscle memory. The apparent lack of an interpretative key allows us to discover that the only interpretation worth doing is not based on verbal knowledge, but on emotional knowledge.
Recognising the contradiction, and indeed, relying on it, we close with the words of an essay of our time: “there are three kinds of intelligence: practical, emotional, and the actual kind, which is what I’m talking about” (here is the link for the curious).