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).

On 12th November 2019 between 1-2pm, Elisabeth will give a Lunch Time talk at the University of Glasgow invited by the Theatre Studies Department. She will talk about her past work and also open the conversation to questions from the audience.

Together with pianist Cathy Krier, Elisabeth has been invited to the Wonder Women Festival in Tuscany, Italy to perform the work ‘Sketches on Ligeti’

The performance will take place on 28th October 2019 at 9pm at Teatro San Girolamo di Lucca.

More information on: https://www.facebook.com/events/514991239092412/

Marie-Laure Rolland, founder and journalist of Luxembourgish Magazine ‘La Glaneuse’ interviewed Elisabeth about the choreographic process creating Peer Gynt.

Video and photos by Bohumil Kostohryz.

Full article available here.

As part of the national awareness campaign “Anxiety: Let’s talk about it”, the League’s Information and Prevention Service invites the public to an original performance. As a duo, dancer Elisabeth Schilling and actor Nickel Bösenberg will make you shiver and invite you to discover the theme of anxiety with insight and sensitivity. Thanks to a unique and surprising scenography, the passer-by is challenged and then made aware of the problem.
The direction by Anne Simon, deserves to be seen to feel all the nuances. Interdisciplinary and multilingual, the extraordinary artistic performance invites people confronted with intense, even incapacitating anxiety to perceive the world.
This extraordinary artistic experience awaits you during the weekend of 19 to 20 October at the place du puits-rouge (main street) in Luxembourg City and from October 21 to 25 in the esplanade in front of the entrance to the Auchan shopping centre in Kirchberg.
This project is being carried out in partnership with the City of Luxembourg and with the support of the Theatres de la Ville de Luxembourg, the Œuvre Nationale de Secours Grande-Duchesse Charlotte and the Ministry of Health.

Elisabeth is currently in Berlin working on the choreography for Peer Gynt together with the actors.

In September, Elisabeth will start working with Swedish choreographer Linda Forsberg towards a new production to premiere as a full evening length work 2020.

 

Image: Eunsun Cho

Raise the curtain! When the Orchestre Philharmonique du Luxembourg plays the first bars of Edvard Grieg’s orchestral suite Peer Gynt in the Grand Auditorium, the participants of the music theatre workshop prepare for their grand performance. For five days, together with workshop leader Elisabeth Schilling, they will develop a choreographic painting of the Scandinavian world of Peer Gynt with its trolls, fairies and other mythical creatures, which is a central component of the great concert “Peer Gynt” – A Musical Fantasy in the series “OPL Familles” in October.

8-12 years
Workshop in German
Free registration: workshops@philharmonie.lu
Participation requires attendance at all dates (including the final performance).

“Of trolls and magical beings”
Tuesday 10.09.2019 – Friday 13.09.2019 09:00-13:00 (D)
Saturday 14.09.2019 10:00-13:00 (D)

Final performances as part of the “Peer Gynt” concert project
Friday 11.10.2019 10:00 (D)
Saturday 12.10.2019 11:00 (D)

Nina Kupzcyk Concept, Director
Elisabeth Schilling workshop leader & choreography

 

On 25th August Luxembourgish pianist Cathy Krier and Elisabeth Schilling performed a research work named ‘Mosaikgleiche Augenblicklichkeiten’ at Kunstfest Weimar.

Here are some impressions captured by Candy Welz.

 

Last June Cathy Krier and Elisabeth Schilling appeared together on stage for the first time to premiere the research piece ‘Mosaikgleiche Augenblicklichkeiten – Skizzen zu Ligeti’ at the MonoLabo Festival in Luxembourg.

Here is the article in the Newspaper of the Letzebuerger Vollek:

‘Let’s go into the lair and into the of vivid of the evening. The first performance was of very great beauty: “Mosaikgleiche Augenblicklichkeiten, Skizzen zu Ligeti”. This creation by Elisabeth Schilling (choreographer) and Cathy Krier (pianist), requires a lot of body control and powerful piano skills. Cathy Krier, whose international reputation is well known, played the piano studies of the Hungarian composer György Ligeti magnificently. Music and visuel poetry go hand in hand. Elisabeth Schilling is perfect, her body leaves, her body travels, her body is both space and sublimation. The dancer’s movements are jerky, sometimes violent, the two artists join a state of mind similar to trance. Cathy’s fingers crystallize the music, offering her that vertigo that the interpretation needs. Sometimes her fingers are like automatons, then, in the following second, they take on the grace of a swan. Elizabeth is silent, while her whole body unveils mysteries associated with Ligeti’s music.’