Sketches on Ligeti

‘The first performance was of great beauty: “Mosaikgleiche Augenblicklichkeiten, Skizzen zu Ligeti”. This creation by Elisabeth Schilling (choreographer) and Cathy Krier (pianist), requires a lot of body control and powerful piano skills. Cathy Krier, whose international reputation is well known, played the piano studies of the Hungarian composer György Ligeti magnificently. Music and visuel poetry go hand in hand. Elisabeth Schilling is perfect, her body leaves, her body travels, her body is both space and sublimation. The dancer’s movements are jerky, sometimes violent, the two artists join a state of mind similar to trance. Cathy’s fingers crystallize the music, offering her that vertigo that the interpretation needs. Sometimes her fingers are like automatons, then, in the following second, they take on the grace of a swan. Elisabeth is silent, while her whole body unveils mysteries associated with Ligeti’s music.’

Michel Schroeder, Zeitung zum Letzeburger Vollek



**** The Herald: ‘Playful, spectral and stirringly beautiful.’ Mary Brennan

**** The Scotsman: ‘Schilling’s fascinating moving sculpture helps us see fabric in a whole new light.’ Kelly Apter

‘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.’ Tom Jeffreys, writer for FriezeThe IndependentThe Telegraph, ArtReview

‚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.’ Gregory Cimatti, Le Quotidien

‘Birthing on to the stage before writhing around and growing, Felt takes us through the cycle of life within a single performance. This riveting performance by Elisabeth Schilling is enclosed inside the mysterious black felt; yet it feels like the powerful energy contained within could burst forth at any moment from within the amorphous folds.’

Tabish Khan, Art Critic and Visual Arts Editor

‚Elisabeth Schilling keeps surprising (…). Her dance choreographies are unusual,
explosive and abstract. They play with our perception. Some (audience members)
even spoke of a new art form between choreography and performance, between visual art and dance and material that has come to life.’ Anina Valle Thiele, Tageblatt

‚Elisabeth Schilling’s disobedient creatures: This project can be seen as analogies to the research of Joseph Beuys, who was also interested in the artistic potential of felt, or to Sasha Waltz’s latest creation, Kreatur.’
Marie-Laure Rolland, La Glaneuse

’FELT’, only the title of her new solo act is already program.’
Thierry Hick, Luxembourger Wort



“Absolutely remarkable.” Marie-Laure Rolland, Luxemburger Wort

“Extraordinarily intimate […], fascinatingly multi-layered.” Sonja Sünnen, Trierischer Volksfreund

“Elisabeth Schilling is a poetic dancer and choreographer who creates great spaces full of imagination. ” ARD / Saarländischer Rundfunk

“…the intensity of her performance holds great resonance. “ Rachel Elderkin, The Stage UK



Audience Voices

Sketches on Ligeti

‘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.’

Steve Karier, artistic director Monodrama Festival Luxembourg


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

Bernard Baumgarten, artistic director TROIS C-L, Centre de Création Chorégraphique Luxembourgeois


‚We had the pleasure to guest a two weeks residency of Ms. Shilling in our studio last June. I was really impressed by the concept of her «Mosaikgleiche Augenblicklichkeiten, Skizzen zu Ligeti» and the severe work that she did on the performing aspect of it. I specially appreciated the refined conceptual relation between the very complex and rigid piano score and the open, even though surprisingly precise, movement pattern. This is why we decided to present the Ligeti project in our next autumn programation.‘

Roberto Castello, artistic director SPAM! – rete per le arti contemporani



Working with Elizabeth Schilling on bringing FELT to the Byre Theatre, St Andrews, was one of the most creative and joyful experiences of my working life. The performance in the evening was absorbing, emotional, thought provoking and truly beautiful. Elizabeth combines an intellectually rigorous approach to her research with an ability to fluently communicate her ambition and intention for the piece. (…) 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.We are extremely fortunate that an artist of Elizabeth’s calibre is happy to work with us in Scotland and I very much look forward to our next adventure together.’  Jan McTaggart, Interim The Byre Theatre Manager St Andrews

‚Mesmerizing, very intruiguing!’ Véronique Kesseler, curator, CASINO Luxembourg

‘It was tremendous to welcome Elisabeth Schilling here in Shetland as part of her Scottish tour of FELT. The piece captivated the audiences, it felt accessible and relatable. The close proximity between the felt and the audience created an eager tension between them.I just feel really rather lucky that we got to have Elisabeth here. She gave so much and it was such a pleasure.‘ Kathryn Spence, Shetland Arts

‚A really thought provoking experience, absolutely fascinating!’ Meredith Moth

‚It is a completely new perspective on dance. This abstractness that she brings (…) is really quite exciting and very courageous, consequent.’  Marion Rothaar, theatre maker

‚FELT is a very sensitive work for me, which thematizes visibility and invisibility, which thematizes person, space and material, very poetic and very calm.’ Sandra Lieners, visual artist

‘FELT is a minimalist performance linking movement to matter, in an immersive sound atmosphere and where the spectator lets himself be caught up in the grandeur and depth of the fabric to which Elisabeth Schilling breathes life through changing gestures and forms, not without humour, to reveal herself only at the end of the performance.’ Anouk Wies, artistic director Cercle Cité Luxembourg

It was a great pleasure to be able to show this new piece to the Luxembourg public for the first time at the Cercle Cité. A surprising representation in all subtlety and inviting to the fantastic, which questions the place of the set and the body in contemporary dance.

‚It is rather extraordinary, it is a very beautiful piece and also very original.’ Juliette Geesmann

‚Sometimes the impression arises as if the shell is brought to life by itself…magic spell. Life as growth, tension, fatigue, standstill, separation, defense, hesitation and renewed rebellion in a flowing rhythm until the final leaving of the field as farewell or new arrival?’ Christoph Hufnagel

‘Amazing piece of work, Elisabeth. Haunting and hypnotic at the same time. Sense of growth, evolution, almost like giving birth or the hatching of an egg.’ Katy & Fiona

‚I found the performance fascinating, the play between the moving body and the sculptural forms left behind after human body had moved on. Different moods and feelings, sometimes funny, sometimes scary, sometimes abstract, sometimes figurative.‘ Nicola

‘I loved it so much! The fabric and the movement reminded me of liquids. A liquid can potentially take on any form. As a seamstress, I am forever amazed at the things that can be created from a piece of fabric. Like liquids, fabrics can take any form. The performance also reminded me of feelings. Feelings resemble liquids. I thought about the felt sense. Thank you for an amazing performance.’ Adriana

‘Elisabeth manages to bring challenging work to remote communities and engage the audience in a process of dialogue, which breaks down the boundary between audience and performer to create a shared experience to be explored.’ Tony Humbleyard, Shorestation Unst

‘It is wonderful to experience your wealth of expressiveness and inventiveness through this felt material.’ Anastasia

I think that I just met an alien. It was new-birth , new to this place and so was I. We were not sure how to make each other feel welcome here, but I Ould like to think that w both wanted to.’ Aran

‚I have attanded a most wonderful evening of contemporary dance in a. Room full of moving history with extraordinary materials. It was moving how you became a sculpture through your dance, sometimes ponderous, tanmtalitzing, sometimes light-footedly stretched, always surprising in the movement. I wanted to be your second dance partner under the felt, dancing to thisxtraordinairy music. I am very happy to have lived something that beautiful.‘ Marlene Schommer.



“a dance work whose beginning has not so engaged since E=mc2 from the 1980“,“ (Elisabeth Schilling) holds life out for inspection, suspending with nothing more than a rigorous physical discipline, our own selves and beginnings “ Jon Seymour, writer

“Fascinating. […] Seeing the piece for the third time I was once again shocked at the new associations I was forming. I cannot let go of the feeling that every time I see this piece something new will reveal itself to me. This speaks for the quality of the piece.” Bernard Baumgarten, Director of TROIS C-L, Centre de Création Chorégraphique Luxembourgeois

“A unique and exceptional artist.” Simone Röhr, Stiftung Stadt Wittlich, Gallery Casa Tony M., Wittlich

“A truly outstanding performance.” Joachim Rodenkirch, Mayor of the City of Wittlich “With a complete and profound depth – it was beautiful, really beautiful. What a great

choreographer! “ Sally Marie, Artistic Director Sweetshop Revolution
“Very rarely have I seen a human being who has moved with such ardency and love to what

they do.” Marlene Schommer
”Like a snail shell of infinite love.” Qui, 9 years old

“The piece is complete in its totality. […] It was abstract in such an extraordinary manner, and executed with such a deep sense of authenticity that one can only achieve if one performs with the whole heart. […].” Christopher Petry


Durch die weitere Nutzung der Seite stimmst du der Verwendung von Cookies zu. - By continuing to use the site, you agree to the use of cookies. Weitere Informationen

Die Cookie-Einstellungen auf dieser Website sind auf "Cookies zulassen" eingestellt, um das beste Surferlebnis zu ermöglichen. Wenn du diese Website ohne Änderung der Cookie-Einstellungen verwendest oder auf "Akzeptieren" klickst, erklärst du sich damit einverstanden. The cookie settings on this website are set to "Allow cookies" to provide the best browsing experience. If you use this website without changing the cookie settings or clicking "Accept", you agree.

Schließen - Close