‘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.’

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

‘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’

‘Invisible Dances has become a global phenomenon.’

‘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.’

‘Irresistible.’

‘Moving.’