SENSORIAL SYMPHONIES
Commissioned by Théâtres de la Ville de Luxembourg
Premiere – 27, 28, 30/09/2025 and 02/10/2025, Grand Théâtre de la Ville de Luxembourg
1/10/2025, Mosel Musikfestival Paulskirche, Trier
ABOUT
What if we could feel the world as plants do?
In Sensorial Symphonies, Associate Artist of Les Théâtres de la Ville de Luxembourg, Elisabeth Schilling embarks on a radical experiment, reshaping our perception of existence itself. Set against the backdrop of Sergei Rachmaninov’s iconic Piano Concerto No. 2—reimagined and interwoven with a contemporary score by Pas- cal Schumacher and the organic sounds of The Plant Philharmonic—this creation is as ambitious in scope as it is intricate in execution.
Sensorial Symphonies invites the audience into an immersive, multi-sensory journey, where plants are not mere decorative metaphors but active protagonists, taking centre stage with their elaborate, interconnected systems. The choreography honours the wisdom of plant life, its symbiotic relationships, resilience, and boundless adaptability, asking us to reconsider our place in a shared ecological web.
The piece transcends human-centric narratives, celebrating plants as both subjects and collaborators. Through touch, scent, design, sound and movement, it encourages us to not only see but also feel vegetal life, challenging Aristotle’s legacy relegating plants to the lowest rung of being. This is a politics of perception, a push to elevate the status of the natural world in our collective consciousness.
Musically, the work is equally groundbreaking. Schumacher’s score blends Rachmaninov’s un- mistakable emotional depth with the minimalist, organic tones of plant-generated sound. The intersection of these seemingly opposing forces—Rachmaninov’s sweeping romanticism and the subtle, non-human frequencies of The Plant Philharmonic—creates a sonic landscape as layered and complex as the ecosystems it seeks to evoke. The contrast is deliberate, compelling us to rethink what virtuosity means: the mastery of human artistry versus the understated yet exqui- site expression of plant life.
Performed by an all-female cast, the choreography mirrors the vegetal world’s relational, non-hierarchical structures. Dancers move with a fluidity that reflects the distributed organisation of plants, forming patterns of mutuality and reciprocity. Group sequences unfold like eco- systems, interdependent, dynamic, and teeming with unseen forces.
Yet, Sensorial Symphonies does not shy away from the contradictions it explores. The theatre—a human-made space—contrasts starkly with nature’s untamed vitality. Elisabeth Schilling’s work embraces this tension, examining how the slow, expansive temporality of plants can find expression within the urgency of live performance. How can nature’s boundlessness be contained within the confines of a theatre? These questions, embedded into the fabric of the work, invite us to confront our own separation from the natural world.
Through its rich interplay of music, movement, and sensory design, Sensorial Symphonies resists easy interpretation, insisting instead on an experiential, almost tactile engagement with its themes. In Elisabeth Schilling’s hands, dance becomes nature’s exuberant music – an inquiry, a transformation, a way of perceiving the world anew. This is not just a profound performance; it is an act of reclamation.
Our work is highly adaptable: we perform in standard “black box” environments as well as in unconventional spaces. At the Mosel Musikfestival, we staged the piece in a historic church—essentially refactoring our lighting and sound setup to integrate with the venue’s unique architecture and acoustics.
DIRECTOR’S NOTE
Dear Audience Member, Dear Reader, Dear Art Lover,
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Thank you so much for your interest in Sensorial Symphonies. It is wonderful to have you among us.
Sensorial Symphonies is a work that has been several years in the making – a labour of love that unites two of my long- held passions: the exuberant music of Sergei Rachmaninov and the rich, often overlooked world of plants.
The seed for this creation was planted in a desire to explore Rachmaninov’s music in a contemporary context — a dream I’ve carried since my teenage years. Alongside that, another fascination took root: the sounds of plants. I first encountered them during a concert at the BBC Proms, London’s renowned classical music festival. As a dance student, I had the privilege of hearing John Cage’s compositions involving plants, which left a lasting impression.
But how could one possibly bring together Rachmaninov and the mysterious realm of plants? And beyond that, how do we encounter plants as sentient beings, rather than as silent objects – a species so often neglected, underappreciated, and objectified in our culture?
We have largely forgotten, or taken for granted, that from plants come our breath, our food, our furniture, our books, our shelter, our medicine, and our inspiration. In a culture driven by consumption and utility, plants are often seen merely in terms of how they can “serve us”. Consider the way we refer to the rainforest as “the lungs of the world” – as if its sole purpose were to absorb the CO2 we produce.
Emanuele Coccia writes: “The world is above all what plants have known how to make of it. They are the actual makers of our world, although this making is clearly different from any other activity of the living.”
And it is precisely that “clearly different” mode of being that fascinates me as an artist. Artistic expression opens the door to other forms of thought, sensation, and experience. Might dance – ephemeral, embodied, and intuitive – be the ideal art form to encounter the plant world?
One of the key inspirations for Sensorial Symphonies was philosopher Michael Marder and his influential book Plant- Thinking. In it, he references the Portuguese word desencontro — a beautifully untranslatable term suggesting a narrowly missed meeting, a divergence between beings who exist on different wavelengths. It speaks to the difficulty – and the poetry – of connecting across species, across ways of being, across ways of experiencing the world.
Plants invite us to think, sense, and experience the world differently. That invitation lies at the heart of Sensorial Symphonies. From it emerges a deeper inquiry: the question of the we.
“A flower – both one and many.“ – Michael Marder
A flower is not a single unit but a constellation of florets, each with a certain independence yet bound together. Through their modular growth and radical openness to their surroundings, plants unsettle our notion of individuality. They grow in modules, open and porous, transformed by water, wind, soil, and light. A plant has no clear beginning or end: it is always in exchange, transformed by what passes through it, even as it transforms its surroundings in turn.
The being of plants – their way of being with – was a guid- ing inspiration. Plant-being is defined not by individuality, but by relation. Not as isolated entities, but as what some have called a collective being: an assemblage of multiplicities, of coexistence, of conviviality.
Questions arise: What is this being with? Is it a being-we? Where does it begin, and where does it end? Is it possible to imagine a we that does not depend on inclusion or exclu- sion?
As Héctor Peña suggests, “Proposing the synonymy between ‘vegetality’ and ‘weness’ is not tantamount to asserting that the true form of plants is ‘we’ or that every ‘us’ must be plant-like. On the contrary, just as plants do not appropriate even their essential vegetality but share it with us — making us we with them, with other animals, and with the cosmos itself — likewise, the us becomes, beyond any form of indi- viduality, the consciousness or feeling of a ‘multi-’ or ‘pluri- dividuation’, which rots, grows, bears fruit, and comes to birth without a term.”
In this dynamic spirit — in what Michael Marder calls “a rhythmic turning of the changing into the changed” — reality itself becomes a shared space, woven from relationships in which all sides are transformed by their encounter. To truly participate in reality is to enter this reciprocity — one that is tangible, physical, and embodied, as Andreas Weber re- minds us.
I invite you into this world — shaped by your perception, your experience, and your imagination as much as by our creative work.
So many people have worked tirelessly to bring this experience to life. My deepest gratitude goes to our producers, the Théâtres de la Ville, for their belief in the work; to our admin- istrative and backstage teams; to the extraordinary artistic collaborators; and, above all, to you, our dear audience.
This work lives through your perception. It lives through our shared encounter. Welcome to Sensorial Symphonies.
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Warmly,
Elisabeth Schilling
INTERVIEWS WITH THE TEAM
Interview with Elisabeth Schilling & Pascal Schumacher By Eva Martinez
Elisabeth: tell us about how you met Pascal and how this collaboration came to be?
I first met Pascal in 2021 through a recommendation by Tom Leick-Burns, director of the Théâtres de la Ville de Luxembourg. This became the starting point of our first collaboration — and many more to follow. Over the years, I have come to know Pascal as a highly creative, sharp-minded, and compassionate artist, distinguished by a strong sense of professionalism. Above all, he is a true collaborator: every decision we make is shared. We listen carefully to each other’s ideas and intuitions, and together we find the way forward.
Professionally, we share much in common – work ethic, aesthetic sensibility, and a spirit of creative play. It took some gentle persuasion to convince him to work on Rachmaninov together with plants, but in the end, despite the inherent challenge of merging such different sound worlds, I’d like to think the process proved mutually rewarding.
Pascal: why did you say yes to this collaboration and what was interesting for you in this proposition?
As Elisabeth rightly pointed out, she had to do some convincing, since Rachmaninov has never really been close to my heart. Not because his music lacks quality, of course, but simply because I often find it too pathos-driven, too epic, too romantic – too heavy for my own sensibilities. What ultimately intrigued me, however, was that she not only suggested opening the score to new layers and perspectives, but also fully embraced my idea of first deconstructing the concerto and then reimagining it. With the presence of percussionist Galdric Subirana from United Instruments of Lucilin, and the freedom to rebuild the work with fantasy, spaciousness, playfulness, and even unexpected plant samples, the project turned into an adventure I was excited to embark on. And, to be completely honest, it was during her heavenly, exquisitely prepared five-course meal that she finally persuaded me to say yes.
Elisabeth: as a choreographer, you have a particularly strong relationship to music, can you say more about the role of music in your work until now?
How is this different this time with Sensorial Symphonies?
How is this different this time with Sensorial Symphonies?
Music, next to nature, is definitely my biggest inspiration. Since 2008, I have (almost obsessively) researched textures and rhythmicities mostly in sound (but also in other senses) to create movement and to form my own movement language. I am fascinated by how, despite the centuries-long history that music and dance share – and the many creative ways their relationship has been explored over time – they can still interrelate in new ways. Their bond, which artistically I conceive as a multilayered interdependence, is something I approach from several angles, always with an intricate and detailed listening: scientific as well as emotional, textural as well as rhythmic. With every composer I work with, this language and this search for an intermingled interdependence changes.
In Sensorial Symphonies, we are working with three different sound universes – something I have never done in this way before. Of course, I have collaborated with composers in the past, but this time it felt different. On the one hand, because Sensorial Symphonies engages with the idea of vegetality, the focus expands beyond the abstract interrelationship of music and dance to include a subject matter, which introduces an additional level of complexity. On the other hand, as I grow as a choreographer, I know much more clearly what interests me in the relationship between music and dance. Collaborating with Pascal
therefore offered me a strong voice in the composition itself – he truly listened.
When you watch me choreograph, it can feel almost as if a composer were visualizing music through dance. I choreograph rhythms and textures into space and time. In this piece, the closeness between sound and movement took on a different nature than in any of my previous works.
I had also never worked so closely with Romantic music before. In some ways, it is simpler than contemporary scores. Yet because of the deep cultural heritage it carries, engaging with Romanticism came with a different set of challenges.
Pascal: have you worked with contemporary dance before? If yes, what do you enjoy about creating music for dance? If not, how has it been so far? Has this changed your perception or understanding of dance? If yes, in what way?
Yes, I have worked with contemporary dance before, not only with Elisabeth, and I truly enjoy creating music for dance. The process is always fascinating because it raises one fundamental question – one Elisabeth and I have discussed many times: once you have a sense of the direction of the piece, what comes first – music or dance? In most cases, I would say in 98.5% of the pieces, the music comes first. It’s logical and almost instinctive to work that way.
However, in Sensorial Symphonies, at least 20% of the piece started with the dance itself, which is a rare and fascinating reversal. Once this initial framework is defined, there are many back-and-forth exchanges between music and dance until the final result is reached. This iterative dialogue is highly passionate and rewarding, and it is only possible because Elisabeth and I have developed a shared language and a deep relationship of mutual understanding and trust. Creating music in such close dialogue with movement has profoundly deepened my perception of dance, showing me how intimately music and movement can inform and inspire each other.
Elisabeth: you started with the question “how could you create a choreographic work that comes as close as possible to the nature of plants themselves — without idealising their beauty, reducing their intelligence, or merely imitating their form”. Do you think you’ve managed this challenge? What aspect are you most pleased with?
Well, good question. The thing is – we as humans project all the time: onto other humans, onto beings, onto situa- tions. So inevitably, even though I tried to come as close as possible to the nature of plants themselves, I will have projected.
Through my research and many discussions with our as- sociate philosopher, Héctor Andrés Peña, I really tried to learn how one can think and experience plants differently, beyond the anthropocentric viewpoints we have grown up with. But it was also about stopping to think, and simply being with them – opening my senses without immediately putting them into a conceptual form, framework, or category.
Even though I research a lot and think deeply about how to bring that knowledge on stage, once I am in the studio with the dancers, all that counts is intuition. Creation is never about control. I spend a lot of time alone preparing rehearsals and shaping the dramaturgy – that is when the vision of the piece really emerges. But in the studio, it becomes more like carving a sculpture together with the dancers: a process of letting go, allowing new things to emerge, adapting and reworking. As we often say in the arts, the piece carves its own way. In this sense, I always challenge my own choreographic development while respecting the instincts of my collaborators. Creation, for me, is a continuous act of balancing and negotiating between many different forces.
Another essential element is the audience: the piece must lead them on a sensory journey, one that sustains their engagement throughout their time with us in the theatre. I often think of creating as an act of building tension – a show is never as pure or linear as a philosophy book; it is always a negotiation between many elements.
I always keep the audience in mind: how they might think about plants, and how we might guide them toward sensing or feeling them differently. For this reason, I have placed certain anchors in the piece, moments where plant imagery or temporality is immediately recognizable. Other passages are more philosophically driven – moments that invite reflection, raise questions, or open up new ways of perceiving plants.
So, in the end, there is beauty, there is form, there are moments in which you will recognize the plant worlds you know – but there is also so much more. And perhaps this “so much more” is what captures something of the nature of plants, and of our relationship with them.
Pascal: musically this piece offers quite a challenge to you as composer, at the intersection of seemingly oppos- ing forces — the sweeping romanticism of Rachmaninov’s piano concerto and the subtle, non-human frequencies of The Plant Philharmonic. How did you approach this?
I approached it as I always do—intuitively, letting my instincts guide me, while staying in constant exchange with Elisabeth. The process unfolded over exactly one year, a continuous dialogue of ideas and challenges. Along the way, we discovered some truly compelling solutions, finding ways to balance the sweeping romanticism of Rachmaninov’s piano concerto with the delicate, otherworldly frequencies of the whispering, fragile leaves of island birch, the deep, earthy resonance of tree roots, the soft, melodic murmur of birds from the Eifel, the fragrant, rustling foliage of French eucalyptus, and even the quirky, percussive chatter of Mexican jumping beans reunited in The Plant Philharmonic.
Final question for both Elisabeth and Pascal: What is Sensorial Symphonies’s gift to you? What did the piece offer you or teach you? And what have you given to it? What did you offer her?
Elisabeth: I usually like to choreograph in very abstract ways – and for most of my past work, that’s what I have done. I like to honor dance as an art form that lives – at least in part – outside our semantic systems, with all the potential that freedom holds. Spaces for this kind of im- agination are rare in our society.
This time, however, I dared to take on a subject, a subject that anyone could in some way or the other relate to. Working with a subject brings another layer of complexity: how to remain true to the imaginative openness of dance while allowing the subject matter to resonate and trans- form the work. The gift of this piece was that it transformed my choreographic language, opening me to new ways of thinking about what choreography can be.
Another gift was the process itself: the time spent working toward a common goal with some of my most precious collaborators. With them, I share such trust that we can truly create together – there is mutual respect, support, and a commitment to something larger than any of us.
I cherished that deeply. Through its ambition, scale, and challenges, the piece also brought me very close to the whole team at the Théâtres de la Ville. I am endlessly grateful for their belief in our work, their trust, and the way each person supported me so generously in their own domain. Our “plant piece” made us grow together.
What I hope I offered to the dance – and to the plants – is my lifelong, almost obsessive dedication to the craft of choreography. I have spent my life questioning what makes a work strong artistically, conceptually, musically. I searched relentlessly for the best solutions, never letting go, staying hyper-disciplined, often forgetting myself in the process. That devotion, that persistence, is what I offered in return.
Pascal: Sensorial Symphonies invited me into a universe of sounds and movements I had never imagined, where each note and gesture seemed alive. It challenged me to listen differently and follow intuition over convention. In return, I offered the piece my imagination, musical sensitivity, and a willingness to engage in constant dialogue with dance – trusting the unexpected, exploring every sonic and choreographic possibility alongside Elisabeth, and occasionally letting myself be guided by whispering leaves, quirky plant sounds, or the mischievous rhythms of jumping beans.
INSTALLATION
Botanical Beats Exhibition
The Forest Still Sings for Us
Sound installation by Alexandra Duvekot
Vegetal installation by Ville de Luxembourg – Service des Parcs
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Presented as part of Sensorial Symphonies by Elisabeth Schilling, The Forest Still Sings for Us invites visitors into an immersive dialogue between the human-made and the vegetal. The installation weaves together the inner sounds of trees—recorded in forests across the world and in the Parc Municipal de Luxembourg—with a living vegetal environment created in the foyer of the Grand Théâtre.
To bring plant life into the architecture of the theatre is never a neutral gesture. It carries the cultural weight of a long history in which “human” and “nature” have been defined in opposition. Within this entirely human-made environment, visitors enter a space resonating with the inner life of a tree—with the vibrations of what it means to sound within a trunk. A gentle yet disorienting paradox unfolds: to stand inside a structure of walls, seats, and lights, and yet, through sound, inhabit the intimate interior of a plant.
Here, Schilling’s work resonates with Emanuele Coccia’s notion of a “being-in-the-sea-of-the-world
Through this poetic encounter, The Forest Still Sings for Us turns the theatre—a place historically devoted to human expression—into a porous, living organism. It becomes a site where resonance replaces separation, and where the boundaries between species, materials, and meanings begin to dissolve.
Here you can find a catalogue that brings together interviews with two team members, two academic texts, and a literary contribution by Ian de Trouffoli. The publications also include an interview with the creative team and a programme from the Théâtres de la Ville de Luxembourg featuring a conversation between the composer and the choreographer. Together, these materials offer insight into the artistic, academic, and poetic dimensions of Sensorial Symphonies, highlighting its collaborative creation process and exploration of the relationships between movement, music, and the vegetal world.
PRESS COMMENTS
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‘Schilling does not deliver what she thinks the vegetal world would do if it could dance. She has painstakingly observed plants, and the dancers portray this with complete accuracy.’
‘A lesson in life for us all, and a very unusual project to convey it. Schilling and her co-producers have created something daring. It’s quite extraordinary, and not something I have ever seen on stage.‘
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Grégory Cematti, Le Quotidien
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‘A poetic, vibrant, and resolutely contemporary performance that leaves in the eyes and mind the luminous power of an authentic encounter between body, music, and nature.’
Giovanni Zambito, Fattitaliani
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‘Her dancers form an organism in which individuality is not so important. What matters most is that every element of the group is equally important and carries the group forward. ‘Plants, too, do not exist as individuals, but together with the earth, with the air, with the sun. And this idea of togetherness was essentially the starting point for this work, which is reflected not only in the choreography but also in other elements,’ says Schilling.’
Daniel Konrad, Luxembourger Wort
AUDIENCE VOICES
Mat Iech is a dance education and accessibility program that brings contemporary dance beyond traditional stages and into everyday spaces. Rooted in dialogue and inclusion, the project adapts performances for diverse audiences — from senior homes and hospitals to rural communities and youth centers — creating space encounters through movement, conversation, and participation. With carefully prepared publications and creative engagement methods, Mat Iech transforms dance into a shared, human connection that celebrates openness and curiosity.
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More information HERE
Accompanying the creation and performance of Sensorial Symphonies the company with choreographer Elisabeth Schilling as well as the artistic team offer the following outreach and mediation opportunities for general audiences and a diversity of communities to delve deeper into the subject matter.
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Post – show performance talk:
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We offer a post-show performance talk with choreographer Elisabeth Schilling, as well as members of the artistic team. This talk will give insights into the process of creation and also give the opportunity to answer questions from the audience.
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Publication:
We created a trilingual publication giving the audience an opportunity to delve deeper into the creation, its research and contexts.
This publication offers a multi-layered exploration of Sensorial Symphonies and its artistic, philosophical, and musical roots.
It opens with reflections on the nature of dance, followed by essays on “the absolute dance of plants” by philosopher Dr. Héctor A. Peña, and on the musical architecture of Rachmaninov by musicologist Dr. Steffen Alexander Schmidt.
Interviews invite readers behind the scenes through conversations with dance artist Marla King, dramaturge Eva Martinez, and the creative team. The publication concludes with Transformations — three poetic texts by Ian De Toffoli that echo the themes of metamorphosis running through the work.
It opens with reflections on the nature of dance, followed by essays on “the absolute dance of plants” by philosopher Dr. Héctor A. Peña, and on the musical architecture of Rachmaninov by musicologist Dr. Steffen Alexander Schmidt.
Interviews invite readers behind the scenes through conversations with dance artist Marla King, dramaturge Eva Martinez, and the creative team. The publication concludes with Transformations — three poetic texts by Ian De Toffoli that echo the themes of metamorphosis running through the work.
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In Conversation:
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In different cities, we would like to invite prominent figures of music, dance, science, philosophy and art to initiate a conversation around a subject matter present in Sensorial Symphony.
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Workshop ideas:
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We are offering the following workshops accompanying the creation and performance for people of all ages of the community:
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1) Plant’s dance: how to translate vegetal texture into movement and create your own green choreography
Delve into the creation process of Sensorial Symphonies yourself by rooting your feet firmly in the earth and becoming plant. We invite you to experience plants through movement from a diversity of perspectives such as temporality, texturality, decentralization, sensoriality. 1-2h maximum
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2) Nature meditation
Countering the societal tendency to overlook and take our natural surrounding for granted, we offer a silent walk through nature giving the opportunity to delve into the natural landscapes, its movements, its micro and macro and experience it through all senses from moment to moment. Length: 2h
3) The City Promenade
We offer a city exploration in search of the tiny – sometimes invisible to human – inhabitants of the urban surrounding, disgracefully called weeds. In this walk, we will flip our world upside down and celebrate the grass growing out of the sidewalk, the ivy sneaking up the walls, the brave little green bits that ignore the human made boundaries, the long green arms that climb out of the sewerage system. While walking we will report on our findings and transform them into a collective sonic work.
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4) A garden as a score (long term community project)
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Almost every plant has a story: a personal one, such as the apple tree in the garden that was given as a wedding present, or a cultural one, such as the rosemary, which symbolises the rose of Mary in ethnobothany, the oak, which is the tree of the ‘wise men’, or the maple, under which every dispute is supposed to be settled. My new project proposal is based on the idea of dancing the stories of plants, be they personal or cultural, in a community dance project. Over the course of several weeks, members of the community meet to share plants, their stories and to make those dance.
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5) Weaving a Vegetal Web of Care – Workshop & Performance
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Inspired by Elisabeth Schilling’s immersive concept, this project brings together community, nature and performance in a shared creative journey. Participants engage in workshops to craft a “vegetal web” of dried herbs and local flowers, which they then carry together in a silent procession — each step weaving our collective care for nature and for one another.
How it works:
- Community workshop sessions where participants create botanical elements and weave the vegetal thread.
- A culminating performance-promenade, where the group silently carries the web, listening to one another’s rhythm and navigating the shared thread’s tension.
- At the end, the botanical tokens are distributed as lasting reminders of the journey and the bond formed.
Duration & Format: Suitable for groups of all ages. Workshop portion: approx. 1.5-2 h. Performance component: adjusted to the venue and chosen route.
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Ideal for theatres, cultural centres and partner organisations seeking a meaningful, participatory event that nurtures ecological awareness, community connection and poetic embodiment.
REHEARSALS IMPRESSIONS
Residency Sharing
This video showcases a creation made during our December 2024 residency at Théâtres de la Ville de Luxembourg in just five days—a collage of ideas that was further developed and refined in the final version.
Residency Sharing Talk
This video shows Elisabeth explaining her research on vegetality and the interrelationships to the compositional ideas during her residency sharing in December 2024 at Théâtres de la Ville de Luxembourg.
Get an insight into the choreographic and compositional vision of Sensorial Symphonies!
TEAM
For further biographical information on all our Team Members, including the Plant Philharmonic, please click HERE
Concept – Elisabeth Schilling in collaboration with the team
Choreography – Elisabeth Schilling
Dance – Manuela Hierl, Marla King, Noa Nies, Aurore Mettray, Marine Tournet
All movements are created together with the dancers
Choreographic Assistant & Rehearsal Director – Brian Ca
Costumes & Stage Design – Agnes Hamvas
Musical Concept & Original Composition – Pascal Schumacher rooted in a De- and Reconstruction of Sergei Rachmaninov’s 2nd Piano Concerto integrating elements of The Plant Philharmonic
The Plant Philharmonic – Dogwood bush (Cornus), Pando Forest – Beneath the Tree (Populus tremuloides), Japanese Eelgrass (Zostera japonica), Eelgrass (Zostera), Pando Collage, Scotch Broom (Cytisus scoparius),Apple Tree (Malus domestica), Ginkgo Tree (Ginkgo biloba), Pine Tree (Pinus), Weeping Willow (Salix babylonica), Sequoia (Sequoia sempervirens), Linden Tree (Tilia), Horse Chestnut (Aesculus hippocastanum), Platane Tree (Platanus), Beech (Fagus), Den (Pinaceae), Mexican Jumping Bean, Icelandic Birch (Betula pubescens), Tomato Plant (Solanum lycopersicum), French Beech (Fagus sylvatica), Eucalyptos (Eucalyptus), Fig (Ficus), Larches (Larix), Oak (Quercus), Scotspine (Pinus sylvestris), Sedge Roots (Carex), Teasel (Dipsacus)
Communities, interactions and communication in ecosystems (P1-0255) and Ecotremology ( Z1-50018) financed by Sloevian Research and innovation Agency.
Recorded by – Alexandra Duvekot, Jez Riley French, Jeff Rice, Rok Šturm (National Institute of Biology, Slovenia), Hidden Sound.
Recording 2nd Piano Concerto – Daniil Trivonov, Philadelphia Orchestra, Yannick Nézet-Séguin
Scent Artist – Ezra-Lloyd Jackson
Lighting Design – Fränz Meyers
Sound Installation The forest still sings for us – Alexandra Duvekot
Live Music – United Instruments of Lucilin,
(Galdric Subirana – percussion)
Dramaturgy & Leadership Coach – Eva Martinez
Sound Designer – Jan Brauer
Dancer in research – Giulia Cenni
Texts on the piece – Neel Chrillesen
Accompanying Philosopher – Héctor Andrés Peña
Photography & videography – Bohumil Kostohryz
Accompanying Musicologiests – Jean-François Boukobza (CNDSM Paris), Steffen A. Schmidt (ZHdK Zürich)
Producers – Joëlle Träuffler, Antoine Krieps, Jon Roberts, Clara Berrod and Susan Hay
Management Pascal Schumacher – Executive Music Producer Rafael Junker, Monday NightProductions
Head of Technique – Patrick Floener
Press and Website – Tyska Samborska
International Relations – Marie Simplex
The framing program was created together with Manon Meier.
Elisabeth Schilling’s research on vegetality has been informed by books of Michael Marder, Stephano Mancuso, Emmanuele Coccia, Wolf-DieterStorl, Monica Gagliano, Zoë Schlanger, amonst others.
Commissioned by – Theatre de la Ville de Luxembourg
Co-produced by – Elisabeth Schilling & Company & United Instruments of Lucilin
Supported by SACEM Luxembourg, Minister de la Culture Luxembourg, TROIS C-L | Maison pour la danse
Residences – Karukera Ballet Guadeloupe & RedSapata Art, Culture and Dance Initiative
CONTACT
Please contact our producer
Jon Roberts — producer@elisabethschilling.com
or the international producer at Théâtre de la Ville
Melinda Schons — mschons@vdl.lu
for further information.
Jon Roberts — producer@elisabethschilling.com
or the international producer at Théâtre de la Ville
Melinda Schons — mschons@vdl.lu
for further information.
Project supported by
Lou begann im Alter von 5 Jahren in ihrer Heimatstadt zu tanzen. Im Jahr 2012 schloss sie sich dem Ballet Junior de Genève an, wo sie Werke von renommierten Choreografen wie Andonis Foniadakis oder Hofesh Schechter tanzte. 2016 schloss sie sich dem Kamea Dance Cie in Israel an, wo sie unter anderem Werke des Regisseurs Tamir Ginz, aber auch von Nacho Duato und Marco Goecke tanzte. Seit 2020 ist sie als Gasttänzerin am Grand Théâtre de Genève engagiert und arbeitet seitdem als freischaffende Tänzerin.
Johanna Schmitt
Johanna Schmitt
