Während Elisabeth’s Arbeitsaufenthaltes in Seoul wurde sie von Designerin Seo Mi Jung eingeladen um für sie in Ihrer Kollektion zu tanzen. Die Designerin arbeitet im Stil der traditionellen koreansichen Tracht. Die kreierten Filme werden bald von Seo Mi Jung auf ihrer Webpage veröffentlicht.

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.

 

 

Elisabeth ist sicher in Seoul angekommen und wird nun gemeinsam mit Alexander Ruth (www.alexanderruth.com) die Kreation für ‘SIXFOLD’ in Residenz im Seoul Dance Centre beginnen.

‘Mit ihrer interdisziplinären Performance SIXFOLD präsentieren die Tänzerin und Choreographin Elisabeth Schilling und der bildende Künstler und Designer Alexander Ruth eine konzentrierte Bewegungsstudie zwischen Mensch und Objekt. Im Raum trifft Vergängliches auf Stetes, der lebendige und sich wandelnde Tanz begegnet einer selbstbestimmten Skulptur. So entwickelt sich ein Resonanzverhältnis zwischen Raum, Musik und Körpern; Ebenen, die nicht als abgetrennte Individuen existieren, sondern ihre Form und ihren Bestand erst aus ihrem Mit- und Zwischen-Sein entwickeln.’

SIXFOLD ist eine Ko – Produktion des TROIS C-L, Centre de Création Chorégraphique Luxembourgeois und der Silvio und Waltraud dell` Antonio-Kunsmann-Stiftung, Wittlich unterstützt von City Moves Aberdeen, The Studio und Seoul Dance Centre, Seoul Foundation for Arts and Culture.

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/

Simone Mousset und Elisabeth’s gemeinsame Produktion ‘Impressing the Grand Duke’ wurde von Rachel Elderkin als Highlight des Resolution Festivals in London gewählt.

‘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

 

 

 

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

Am 27. und 28. Februar wird Elisabeth Schilling das Solo ‘The Mirror / Der Spiegel’ der Mamia Kompanie in Finland im Rahmen eines Preview showings zeigen. Das Stück wurde gemeinsam mit Nina Mamia & Kasperi Nordman kreiert und ist Teil eines Soloabends mit Gesa Pieper.

Mehr Informationen auf: 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.

Am 13. Januar wird Elisabeth Schilling mit Simone Mousset ihr gemeinsames Stück ‘Impressing the Grand Duke’ bei The Place zeigen.

Mehr Informationen unter: 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.