Ever since I was a little girl I loved dresses and costumes. The two reasons for that was the ability to make the movement visible in space and on the other hand the transformation of your own movement adjusting to the quality of the fabric. I was intrigued by the idea that even if something is still, like in a picture, we can still see the movement in it. To bring the movement to live I wanted to work with different fabrics and dresses. While at the same time, the fabric would inspirate our movement.
The beauty about fabric, is that it gives you the ability to see air and how it is moved. As once a choreographer said “Dance is moving air”. And not only does it make the movement visible in space, it also enlargers the movement. It becomes an extension of the body. And when the movement of the dancer is finished, the fabric acts like a little time machine, continuing the movement for a second longer, reminding us of the movement, before it becomes part of a memory.
On the other hand, fabric inspires us to move in certain ways. Depending on the quality and even colour it can inspire different kinds of movement. Like a little girl who starts twirling when she wears a wide skirt, so do we in dance.
In our first year we had the opportunity to work with Antonio Ruz and dance in the Fraumunster Church of Zurich. After my first year I did a summercourse supported by William Forsythe. I had the chance to work with many talented dancers, choreographers and teachers during this time. A few of the choreographers I worked with were: Lorand Zachar, Nadav Zelner, Tarek Assam and Olga Labovkina.
In my second year I had a chance to perform in Russia during the Conext Festival, both in Moskou and St. Petersburg. And later that year in the TanzArt festival Giessen.
For my internship I worked with the Poetic disaster club by Club Guy and Roni. Unfortunately due to the pandemic I never had a possibility perform with them.
My second internship I started last summer in Stadttheater Hagen as an eleve of the ballet company. Now under the direction of Marguerite Donlon.