‘Elisabeth Schilling has developed a unique art that is open to other disciplines, (…) If we also count the choreographic commissions created for the prestigious Tate Modern (London), it is not surprising to see the rapid evolution of this young choreographer who sees dance as an artistic whole.’

‚Elisabeth Schilling keeps surprising (…). Her dance choreographies are unusual, explosive and abstract.’

‘Elisabeth Schilling is not afraid of challenges. She has proven this by the diversity of her creations and artistic projects to date, and by the way she is able to build bridges with other artistic disciplines and with the public. Cultural institutions are snapping her up. She is currently an associate artist at the Trifolion in Echternach and at the Grand Théâtre in Luxembourg.’

‘HEAR EYES MOVE is a mammoth project. The choreographer Elisabeth Schilling ventures into the highly complex piano etudes by György Ligeti. Together with pianist Cathy Krier and five dancers, she follows the colours of the tones: a fusion of new music and contemporary dance at eye level.’

‘The slow spread in different cities – Like a peaceful harmless creative rather exhilarating virus’

‘A turning point in the young choreographer’s career.’

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

‘Very rarely have I seen a human being who has moved with such ardency and love to what they do.’

‘In general, Elisabeth Schilling’s dance language is the most sensitive fine drawing. The movements of her dancers create lineaments that develop solely from the energy of the music and its temperaments and moods. Lines of movement that take hold of space, unroll, condense into spatial bodies, only to separate again. At times, the outstretched limbs seem like expressionist exclamation marks. In a single gesture, an entire soul seems to be externalised.’

‘Dancers (…) create amazing group tableaux and vivid, moving images.’

‘The performance was extraordinary – unlike anything I’ve seen before.(…) I found it beautiful and intriguing and surprising. How could one performer imbue inanimate material with so much life and meaning? I also found FELT disconcerting, awkward, funny, utterly hypnotic and ultimately unreadable – in the best possible way.’ 

‚She has developed a unique art that is open to other disciplines, which she willingly shares with a neophyte audience in unusual places. If we also count the choreographic commissions created for the prestigious Tate Modern (London), it is not surprising to see the rapid evolution of this young choreographer who sees dance as an artistic whole.’

‘We were strongly touched by the tight, intimate collaboration of live piano an body in motion. Not only is Cathy Krier’s rendering of Ligèty’s music an asset for the show to come, but her sheer physical, highly concentrated presence on stage adds to Elisabeth Schilling’s round and well considered, poetic, yet clear and readable dance moves. We consider the project to associate both talents to be a plain success.’

‚These first choreographic research results are promising. The harmony and interplay between Cathy Krier and Elisabeth Schilling is already at a very high level.’

‘Absolutely remarkable.’

‘Extraordinarily intimate […], fascinatingly multi-layered.’