Yes, I didn’t literally mean senseless, but functionless, it has no concrete function or practical use. The metaphysics, which dance deals with a lot, has always interested me and is also inexhaustible inspiration – at the same time it was always clear to me: dance is functionless and therefore you don’t need to take it so obsessively seriously. That’s why it’s the constant underdog of the art forms – but I experience exactly that thing about it as very refreshing and pleasant.

I like humor. For me, art can be complicated, defying, questioning the social consensus, cynical, and a challenge to everyone involved. I expect a lot from my audience: openness, trust, participation, courage and above all time.

Beautiful and ugly, good and bad – what fascinates me about art and especially dance is that these supposed opposites are so close together and interchangeable.

The theater offers a space in which other rules of a game can be defined. For me it is one of the safest places of all. The contract between audience and performers is so clear and defined. One party pays and then conventionally sits in the dark for 1-2 hours to watch others perform different simulations of reality. It is totally absurd! It’s different in our outdoor experiences, and it feels necessary for us to break out of the black box every now and then, because it has its own limitations. But the black box remains for me the place where one can define and influence the circumstances the most. In theater, I’m very interested in illusion, illusion with rather meager means as they are still common here: Spots as sun, fog machines and fans. Fantasies can be played out and utopias can be tested.

Well, fears can be extremely good and useful, but also the source of a lot of unnecessary violence. Just the fear of death makes people do the craziest things. It seems to make sense to me to deal with it and to confront fears, so that one learns to deal with them and to transform them into something constructive. The performative space, this Punch and Judy show for adults, at least offers us a good outlet – so we don’t have to run through the city with machine guns.

Etude for Church is a part of a series of etudes that I have been performing with my team in public spaces since 2020. The essence of these etudes is the very literal creation of sound with and through the body as an instrument. I played a lot of Chopin on and off the piano as a child.

The repetition of technical difficulties plays into the definition of an etude- I wanted to represent that musically as well as to ’embody’ it.

Stunt elements usually play a big role in our etudes, we like to use the effects repertoire from stunts for sound production (crashes, collisions, etc).

In this etude, however, things will be a bit quieter, but there will still be stunt performers as musicians. The first idea for Atonal was a human bell. A hybrid of bodies and a 2 ton iron bell. The whole thing has now evolved into a noisy tryptich. So yes here we are certainly working off of certain symbolism and rituals from Catholicism and their relation to physicality. It becomes very straightforward a musical composition for a bell and 5 bodies.

I like experiments. I associate it with a lot of cool things: failure is an integral part of an experiment and therefore risk, but also the possibility to experience something unique or first time. I like it when people really try something, a lot of people don’t do that because they are afraid of the unknown or of failure. Those are people who take art very seriously

That’s exactly what I think about before every new show…