SENSORIAL SYMPHONIES

TOURING PACK ABOUT SCALE IN CONVERSATION WITH ELISABETH TOURING PHOTOS & VIDEOS OUTREACH & MEDIATION FRAMING PROGRAM PRESS QUOTES TEAM PLANT PHILHARMONIC CONTACT

Touring pack

ENGLISH

DEUTSCH

FRANÇAIS

Commissioned by Théâtres de la Ville de Luxembourg

Première – Autumn 2025, Grand Théâtre de la Ville de Luxembourg

‚Nature is chaos in motion. Biological life is a spiral diffusion of possibilities, fractal in its abundance. Every organism, and certainly every plant, comes from an evolutionary network of green leafy things, only to give rise to further variations. They all change their form, of course, because all this never ends – except when plants die out. The diversity seemed endless and impossible to grasp.’

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Zoë Schlanger

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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 Pascal 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 unmistakable 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 exquisite 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 ecosystems, 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.

PLANT SOUNDS / TECHNICALITIES

For the creation Sensorial Symphonies, we decided to use direct sound from the plant world that was untranslated and recorded with non-violent methods. No electricity sensors or any type of sonic translation was used, as we wanted the connection to the vegetal world to be as direct as possible.

For the score, several trees and plant bodies around the world were recorded between April 2024 – autumn 2025. What you hear is the sap streams, sound of the roots and the clicking sounds of several plants reacting to their environment. Amongst the technical gear were sea – series pro contact microphones made by sound artists Jez Riley French and his daughter Pheobe Riley Law, also used by David Attenborough.

We also integrated several sonic excerpts of scientific research into plant sound. Amongst the plants recorded are young cherry blossom trees, beech, pine trees and tomato plants.

SCALE

Mid-scale: ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

5 dancers

4 musicians on stage

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The piece will be available with or without live music.

A tech rider can be shared further in development of the piece.

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Duration: 1 hour

IN CONVERSATION WITH ELISABETH

How might we conceive of the bond between dance and music?

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No other art forms are as profoundly linked as dance and music. Just as today, no bond between art forms is as studied and analysed from all sides as the coexistence, interconnectedness — one might even call it intertwining — of dance and music. I am aware I am generalizing a lot, but very broadly speaking, back in the day, ballet’s role was that of a supportive act for the music. Dance in the neoclassical period imitated

music by retracing its lines and sculpting it through the dancers’ bodies.

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Where do you situate your work in relation to this idea?

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I’m not trying to reiterate through dance what the music is doing, because I don’t conceive of dance as a mere crutch for music, quite the opposite. Their bond, which I conceive of as a many-layered interdependence, is one I approach from several angles: scientific as well as emotional, textural as well as rhythmic. In these varied ways, what I

seek are sparks of inspiration which will lead to movement.

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When I created my first group project in 2020, HEAR EYES MOVE. Dances with Ligeti (a choreographic interpretation of Györgi Ligeti’s 18 etudes for piano), I was seeking inspiration in the rhythmic structures found in the realms of physics and mathematics—as did Ligeti himself. At the same time, I was looking to develop my own identity in and through dance, so as not to simply imitate what the music was doing—an identity on equal footing with the musical score, independent yet also interdependent, based on an intricate and delicate language of movement. You might say I emulated Ligeti’s compositional method through dance, allowing things to magnetise and converge, to be drawn to one another, leaning on network theory, chaos theory, complex systems, and actions and consequences.

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Can dance and choreography be perceived at a more abstract level?

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In my work, I differentiate between two phases. First, there is my scientific research, for which I read musical scores, analysing compositions, rhythmic structures and melodies, but I also learn about the composer’s life and sources of inspiration, which inform my own

process. Then, there is the more abstract side of dance and choreography, attained through a wordless kind of language. I try to conceive of music through a kind of emotional, choreographic hearing, based on personal, creative association. I hear textures and allow images to come to mind, and all of a sudden I see things: a tree swaying in the wind, someone taking flight through an open window.

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So I try to bring the dancers together, in order to make them react to images or associations drawn from nature. I ask them to think of their bodies as a reflection on the water, or leaves in the wind, or a dried-up sunflower field, leaving behind their human bodies to instead become elements.

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This is a choreographic concept you’ve developed in a previous project, Florescence in Decay.

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I created Florescence in Decay in 2022, based on music by the contemporary composer Anna Meredith. Conceived for nine dancers, this work deepened my choreographic investigation into the relationship between music and dance, a relationship which, in working closely with the musical composition, I came to understand as a highly detailed, complex and interdependent one.

In this piece, I explored themes such a cyclicality, natural metamorphosis, our concept of the solar year. It’s a piece that evokes the world of plants from a cosmological perspective, focusing on our intrinsic bond with the natural world of which we humans are a part, and from which we cannot be separated entirely. I envisaged something like

zooming out, a big-picture concept of our relationship with living things. I wanted to dance a growing and blooming flower, which is then eaten by a cow, then digested.

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On stage, ever since HEAR EYES MOVE, I’ve tried to render this as the relationship between bodies which, though not physically touching, are nevertheless expressing through dance the potential effects they have on one another. If one of them turns around, the others turn with it. Dancing in canon, so to speak, rather than in unison: the same movements overlapping, linked in sequence, action and consequence. Ever gesture impacts the system as a whole. It’s become an important stylistic device in my work.

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You’re currently working on a new project using Rachmaninov’s music, but that project goes even further.

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I’ve fallen in love with Rachmaninov’s music, even if it’s sometimes considered to be kitsch. I love the brilliance of his virtuosity, though it’s precisely this virtuosity that makes

Rachmaninov’s work a challenging one to transform into choreography. I find that in contemporary dance we are rather too afraid of strong emotions, too unwilling to face them. Then again, I was really keen to tackle a great composer. I read and listen to a lot of music, and after nursing this desire for a long time I’ve now finally plucked up the

courage to use Rachmaninov’s music to further my research on the interrelatedness of rhythm, textures, and the world of plants.

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But, indeed, I’d like to take things further. For this project, I intend to combine the piano concerto n.2 in C minor with a newly commissioned piece by the contemporary sound artist and musician Alexandra Duvekot. Fascinated by plants’ capacity to produce actual sounds, which can be amplified, Duvekot has worked with plant sounds since 2012. In

combining two seeming opposites, we aim to root Rachmaninov’s three-part piano concerto in and around Duvekot’s contemporary composition for plant sounds, thus uniting the polyphonic nature sounds with the virtuosity of the solo concerto, creating an aesthetic contrast between the contemporary and a Western classic. Likewise, in Rachmaninov’s work, the entire concerto seems to germinate from the seed of three

notes, from which the entire melody grows in an organic, plantlike way.

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For me, it’s a matter of creating a truly emotional event, something as intense, overflowing and fierce as nature itself, with its scents and shapes, its darkness and incredible beauty. Instead of separating art (and culture) from nature, I combine their parallel characteristics, putting dance on equal footing with the philosophical study of plant life. When we walk in the woods, we can feel the the energy emitted by plants and

trees, and I want dance to emit the same kind of energy—a dance conveying the sensation of tree bark. I envisage choreographic sequences, which take on the appearance of plants, bringing to the stage the sensorial oneness of nature.

CONCEPT DEVELOPMENT

Emotional and Environmental Symbiosis

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At the heart of Sensorial Symphonies lies the exploration of the symbiotic relationship between human emotion and the natural world. This symbiosis reflects not just a biological or ecological truth but also a deep emotional and spiritual connection that humans have historically shared with nature—a connection that is increasingly strained by modern life and the looming threats of ecological collapse and existential uncertainty.

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Rachmaninov’s 2 nd Piano Concerto & the Choreographic Approach

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Elisabeth is deeply fascinated by the virtuosity and the inherent emotional impact of proposed musical composition – elements that have somewhat fallen out of favor in the contemporary realms of dance and music. In her pursuit to redefine the expressive capabilities of dance, Elisabeth is determined to challenge and dismantle some of the existing choreographic constraints of how to convey ‘emotionality’ in relation to such virtuosic and romantic score through contemporary dance. Her intention to delve into the exuberance of Rachmaninov’s music through a contemporary lens is not just an exploration of the music’s intrinsic attributes, but a quest to redefine what emotion in dance can convey in the modern world.

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Rachmaninov’s Piano Concerto No. 2 is a masterpiece of the Romantic era, characterized by its affectionate resonance, lyrical melodies, and technical virtuosity. These qualities offer a rich tapestry of content for Elisabeth to explore through movement. The challenge lies in translating this ’emotionality’—so closely tied to the Romantic era’s expressive ideals— into a form that resonates with contemporary audiences. Elisabeth’s approach suggests a movement away from direct emotional representation towards a more nuanced, abstracted interpretation that reflects the complexity and fluidity of contemporary emotional landscapes.

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Having worked closely with complex compositional scores such as with works by György Ligeti, Johann Sebastian Bach and Anna Meredith in her past choreographic creations, Elisabeth is experienced in choreographically interpreting musical sophistication. Following this history of working, she is interested in Rachmaninov’s oeuvre as a continuation of her choreographic past. With Rachmaninov being a composer of the late Romantic era, she envisions to create a contemporary perspective on this music in choreography: a new ‘emotionality’ in complex forms.

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In Elisabeth’s vision, this new emotionality is less defined, it is not fixed: instead it is ’shapeless’, ‘ever-changing’, ‘metamorphosing’ thus escapes the traditional definition of a human ‘emotion’ as we know it.

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Rachmaninov’s 2nd Piano Concerto & a newly commissioned contemporary score of plant sounds

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Plants make sounds in frequencies inaudible to the human ear: the growth of plants, the way the roots reach and extend in the earth, the oxygen exchange with the air around them, the communication with other plants and animals, the way they suck up and distribute the water from the ground. Plant sounds can be understood as a means of communication, and it appears that plants react to mankind and its environment.

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Collaborating composer Alexandra Duvekot has worked with the sound of plants through her ‘Plant Orchestra’ since 2012. In Sensorial Symphonies, it is envisioned that Rachmaninov’s three – part piano concerto is to be rooted, surrounded, and enveloped in a newly commissioned contemporary score of plant sounds.

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The integration of plant sounds into the new creation alongside Rachmaninov’s Piano Concerto No. 2 bridges the gap between nature and human expression through music and dance. This approach not only expands the auditory palette of the performance but also introduces profound thematic layer that explores the interconnectedness of all living things.

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This new composition will consist of three layers:

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1. A base line of the sonic experience of being inside a plant

The base line will consist of a musical experience that offers the sensation of being inside plants—such as a tree, a root, a rosehip, or a flower bulb— presents a unique and immersive auditory journey. While the actual sound of being inside these natural structures is beyond human experience due to the differences in audible frequency, modern technology and artistic interpretation can bridge this gap, creating an experience inspired by these phenomena.

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2. Voices of the Plants made audible live

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Incorporating live plant sounds into the performance adds an element of immediacy and unpredictability, emphasizing the concept that plants are active participants in their environment. This layer highlights the dynamic interaction between human and plant life, suggesting a form of communication and mutual influence that often goes unrecognized.

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3. Interpretation of Natural Textures inspired by Dancer’s Movements

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The third layer bridges the organic sounds of plants with the human element of the performance, using acoustic instruments to interpret the textures and movements of the natural world as inspired by the dancers. This layer acts as a bridge between the plant and human worlds, with the dancers’ movements directly influencing the musical interpretation of natural processes. It emphasizes the reciprocal relationship between humans and nature, in which each influence is inspired by the other.

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The Plant Sounds & The Choreographic Approach: from plants to dance to a musical score

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How can movement be developed inspired by plants? Which movement ideas arise translating shapes, scent, and haptic experiences of the vegetal world into the human body? How can contemporary philosophy on plants inspire choreographic ideas? In which ways can phenomena of the vegetal world like rooting, florescence, growing and decaying inspire choreographic images? How would scientific findings of plant communication inspire movement relationships in dance?

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It is these questions that drive the choreographic exploration. Themes that are furthermore present in the research are the textural embodiment of being with the plants, the interdependence between plant body and human body and the quality of being an organism composed of multiple bodies.

Elisabeth envisions to create in dance an ecosystem, in which the

performers are attached to each other, not free, but dependent on each other, continuously adapting, metamorphosing their way through living, but never as singular, always through each other.

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Whilst, in the past, Elisabeth often created choreography stemming from an already existing score, she would now like to – together with composer Alexandra Duvekot – explore which compositional potentials can be found starting the musical creation process from the dance. Having extensive knowledge on music herself, Elisabeth is especially interested in creating complex rhythmical structures and making a variety of textures audible. Alexandra and Elisabeth furthermore envision the music / dance relationship to be of an intricate, complex, and interdepended nature, reaching a greater complexity than a mere auditive backdrop to the dance.

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Rounding off…

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Sensorial Symphonies is a profound exploration of the interconnectedness of life, using the music, dance, and the natural world to weave a narrative that transcends traditional human-centric viewpoints. By integrating the emotional depth of Rachmaninov’s music with the subtle complexities of plant life, this new work proposes a radical shift in perception that could nurture a deeper, more empathetic relationship with our environment.

TOURING

Premiere:

27^th, 28^th, 30^th September, 02^nd October 2025 – Théâtres de la Ville de Luxembourg

01^st October 2025 – Mosel Musikfestival

18^th October 2025 – Dance Live Festival Aberdeen

23^rd October 2025 – The Byre Theatre, St. Andrews

01^st & 2^nd November 2025 – Cumbernauld Theatre, Cumbernauld

4^th November 2025 – An Lanntair, Outer Hebrides

6^th November 2025 – Mareel, Shetland Islands

Available for touring in 2026 & 2027.

PHOTOS & VIDEOS

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 will be 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.

Trailer for the Research Residency 1

Trailer ‚La vague sonore de la danse des plantes‘ – Research Residency 2

Texture Phrase 1

Decay

Wurzelgewächs

OUTREACH & MEDIATION

Accompanying the creation and performance of Sensorial Symphonies the company with choreographer Elisabeth Schilling, composer Alexandra Duvekot 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, composer Alexndra Duvekot 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:

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We will create a trilingual publication giving the audience an opportunity to delve deeper into the creation, its research and contexts.

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Introduction to the subject: Sharon Blackie

Sensorial fun facts on plants (writer tbc)

Poem by Alexandra Duvekot

Interview with dramaturge Eva Martinez, choreographer Elisabeth Schilling and composer Alexandra Duvekot

Interview with the artistic team on the creation

Plant philosopher Michael Marder on combining the vegetal life and artistry

Musicologist Jean-François Boukobza: Listening to Rachmaninov in an organic sense

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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.

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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) Songs for Forests: A movement and vocal journey inspired by an underground root system of plants. Length: 2h

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‘Oh noble and marvelously branched democracy’ (Manuela Infante).

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An underground system of a forest nourishes, informs, shares, independently and interdependently coexists, while stretched out over thousands and thousands of kilometers. In this workshop we are going to explore what this phenomenon might sound like with our voices – asonic polyphony inspired by underground root systems.

3) Writing a story from the perspective of a silent witness: a plant

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Come and join our creative writing workshop in which we will create a piece of text from the perspective of a green body of choice. Length: 2h

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4) Nature meditation

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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

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5) The City Promenade: Le paradis des mauvais herbes

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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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6) 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. Plant composer Alexandra Duvekot can accompany this creation sonically.

FRAMING PROGRAM

PRESS QUOTES

“ Hear eyes Move. Dances with Ligeti”, fortissimo! Atypical but powerful dance-concert! We love it! “

Patrick Denis, La Provence

“ Winner of the Lëtzebuerger Danzpräis, Elisabeth Schilling is the young star of the European contemporary dance “

Loïc Millot, culture.lu

“Her impressive work moves along the tension between a vision and its coherent realisation via the body language of dance.”

Eva-Maria Reuther, OPUS Magazin

TEAM

Concept: Elisabeth Schilling in collaboration with the team

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Choreography: Elisabeth Schilling

Dance: Manuela Hierl, Marla King, Noa Nies, Aurore Mettray, Marine Tournet

All movements are created together with the dancers

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Choreographic Assistant & Rehearsal Director: Brian Ca

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Costumes & Stage Design: Agnes Hamvas

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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, Pando Forest – Beneath the Tree, Japanese Eelgrass, Eelgrass, Pando Collage, Scotch Broom, Mexican Jumping Bean, Icelandic Birch, Tomato Plant. XXX

Recorded by: Alexandra Duvekot, Jez riley French, Jeff Rize, Rok Šturm, Hidden Sound

Recording 2^nd 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

Dramaturgy & Leadership Coach: Eva Martinez

Sound Designer: Clément XXX

Texts on the piece: Neel Chrillesen

Accompanying Musicologist:

Jean-François Boukobza (CNDSM Paris), Steffen Schmidt (ZhDK Zürich)

Accompanying Philosopher:Héctor Andrés Peña

Photography and videography: Bohumil Kostohryz

Producers: Joëlle Träuffler, Jon Roberts, Clara Berrod and Susan Hay

Press and Website: Tyska Samborska

Touring Manager: 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-Dieter Storl, Monica Gagliano, Zoë Schlanger, amonst others.

Comissioned by Théâtres de la Ville de Luxembourg.

Co-produced by Elisabeth Schilling & Company.

Supported by SACEM Luxembourg, Ministère de la Culture Luxembourg, TROIS C-L | Maison pour la danse.

Residencies Karukera Ballet Guadeloupe & RedSapata Art, Culture and Dance Initiative.

PLANT PHILHARMONIC

The Plant Philharmonic

The Plant Philharmonic features an assemblage of diverse plant sounds captured through a variety of technical means by both sound artists, bio accousitic labs as well as scientists. Over the past year, Elisabeth researched both direct and non-direct plant sounds and formed the Plant Philharmonic, which entail sounds recorded by: Alexandra Duvekot, Jez Riley French, Jeff Rize, Rok Šturm, Hidden Sound featuring the following plants (example):
Dogwood bush, Pando Forest – Beneath the Tree, Japanese Eelgrass, Eelgrass, Pando Collage, Scotch Broom, Mexican Jumping Bean, Icelandic Birch, Tomato Plant

Pascal Schumacher

 Pascal Schumacher is without doubt one of the most versatile musicians of his generation. The musical influences from which he develops his always authentic total works of art are manifold – as a vibraphonist, composer, bandleader or sound director, composer, bandleader or sound director. He has played together with such exciting musicians as Maxime Delpierre, Francesco Tristano, Bachar Mar Khalifé, Jef Neve, Kenny Barron, Magic Malik, Rabih Abou-Khalil, Nelson Veras and Nils Frahm. He fuses emotional classical music with minimalist electronic sounds to create what is called modern classical music – but for Schumacher himself, any classification is obsolete. For him, music is one boundless playground.

Ezra-Lloyd Jackson

A perfumer and multidisciplinary artist from South London. In 2018 Ezra began an apprenticeship at perfumery consultancy and laboratory, Olfiction, where he progressed through the ranks from Lab Assistant to Perfumer, while maintaining an independent scent design practice. Over this time he was developing wearable fragrances which went on to form the core collection of his brand ‘deya’, which was established with his business partner Riley Agutter, in 2023.

Ezra’s work has involved a range of collaborations with other artists and designers, such as Anthea Hamilton, Ronan Mckenzie, R.I.P Germain, Julian Knxx, Babirye Bukilwa, Rahemur Rahman, Matthew Needham and Speakers Corner Quartet. Ezra has shown work in the ICA, Barbican, V&A Museum, Sarabande, FACT Liverpool, Soho House, Netflix HQ, and at the Venice Biennale. He has also run various scent workshops at institutions like Gucci, 180 Strand, The Science Museum, and IntoUniversity.

Dancers:

Noa Nies
Noa Nies is a dedicated contemporary dancer from Luxembourg, blending training in classical, contemporary, urban and latin dance styles. She began her studies at the Conservatory of the City of Luxembourg and pursued advanced training through institutions like the Kibbutz Contemporary Dance Company and CobosMika. Her varied background has allowed her to build a well-rounded skill set and a deep appreciation for movement in different forms.
Professionally, Noa has had the privilege of performing with companies like Elisabeth Schilling & Company, Z Art Dance by Giovanni Zazzera and JC Movement Production by Jill Crovisier. She has also explored film work, taking on roles in productions like the feature film Stargazer, directed by Christian Neuman, where she combined her dance and acting skills.
Noa’s passion for dance extends beyond performance; she seeks out opportunities for interdisciplinary projects that push creative boundaries.Through her experiences, Noa continues to grow as a dancer, grateful for each opportunity to learn from the talented artists she works alongside.

Manuela Hierl

 Manuela is a contemporary performer, choreographer and bgirl from Spain and Argentina. She finished her ballet degree at the Royal Ballet Conservatory in Spain and studied her bachelor at SEAD in performance and choreography. Her style is a mix of all these disciplines, including acrobatics, urban styles, floor work and a wide range of contemporary techniques. Currently working for Kinetic Orchestra as a freelancer. Her pieces have been invited to: Guidance Festival of Hannover, International Ballet Gala Landestheater Salzburg, INACT Festival, La Morgue, as well as freelancing for Irene Kalbusch Company, Marie-Lena Kaiser, Olivier Dubois and Horacio Macuacua. Manuela Hierl’s choreographies have a strong feminist and political approach. On a side note, she won several breaking battles in Europe and Argentina and was semi-finalist at Red Bull BC one Austria.

Aurore Mettray

Aurore Mettray studied dance at the Paris-based International Dance Academy (AID).
After graduating at the age of 22, Aurore further enriched her knowledge of contemporary dance by attending workshops such as La Veronal, Wim Vandekeybus, Hofesh Schechter and Los Little Guys.
At the same time, Aurore works with several companies and productions in France and abroad. She will have the opportunity to work alongside choreographers such as Sarah Adjou, Giuliano Peparini, Franco Dragon, Damien Jallet and Alexander Ekman.

In 2021, she also discovered a passion for acting. She decided to train at Studio Pygmalion.
Curious about everything, she is interested in a variety of artistic fields and explores very different universes (companies, short films, musicals, advertising, cinema…)