The Key Chain Methodology
Part of Elisabeth’s approach to engaging audiences in contemporary performance lies in her Key Chain method; a role-reversed post-show talk where the audience is given full authority to explore their own interpretation in a space where there can be no wrong answers. Elisabeth has developed this method as a guide to audiences to discover their own way into the work that takes place immediately after the performance. Key Chain encourages individual viewpoints and opinions on the work, and aims to trigger individual creativity and imagination when interpreting the performance. With the Key Chain method, Elisabeth is particularly eager to attract audiences who seldom or never see dance performances and hopes to inspire a new curiosity in dance. There is also a possibity to present the Key Chain method in German.
‘Elizabeth puts audience experience at the centre of her performances, her ability to gently and beautifully engage with her audiences is impressive and is incredibly helpful in breaking down the barriers normally associated with contemporary dance, which can only support audience growth and development for the artform. This is especially evident in her approach to post show conversation which creates a safe space for discourse. ‘
Jan McTaggart, Interim Director The Byre Theatre
“Elisabeth is not only a very talented dancer but also a very gifted communicator who manages to engage audience members who have had no prior exposure to contemporary dance, gaining their trust and using Key Chain questions to provide a safe and accessible structure to allow a dialogue between performer and audience.”
Tony Humbleyard, The Studio at Shorestation, Unst
‚Elizabeth’s carefully considered interactions with her audience and her willingness to embrace a proactive exchange of views and perspectives as a central part of the process of the work, ensured an experience that was inherently open and responsive. Elizabeth is one of those rare performers who can take audiences, not necessarily versed in contemporary dance or performance, and move them toward a much deeper and enjoyable level of experience. FELT delivered a moment of magic in our theatre space, truly felt by all who were lucky enough to experience it.’
Lorraine Grant, Director The Barn Arts Aberdeen
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
