Elisa Frasson is an Italian dance researcher with extensive experience in the curatorship of screendance events and dance in urban spaces. Recently she has been writing for Tanzschreiber, a platform for critiques on Berlin dance events and working as field researcher for Cantieri Culturali Firenze (IT). In 2022, she was awarded a Dis-Tanz-Solo stipend (Dachverband Tanz Deutschland) for a project on dance and criticism. She is currently working with laborgras dance company (Berlin, DE) for the documentation research of their new dance creation. Elisa holds a PhD in Dance Studies (University of Roehampton, London).
During the three-day “Reflections & Reflections – On the Future of Debate Culture” programme at the Berliner Festspiele, Emanuel Gat unveiled Freedom Sonata (2024), a work that navigates, both literally and conceptually, the fragile boundary between order and the pursuit of freedom.
A guest of the Berliner Festspiele Performing Arts Season, the Israeli Batsheva Dance Company presented Ohad Naharin’s MOMO (2022), a non-narrative, mesmerising piece, strongly characterised by duality.
Beginning during Berlin Art Week and developing over the following months, the joint curatorship of Sophiensæle, Georg Kolbe Museum, and Haus am Waldsee, presented a retrospective on the body of work of Franco-Austrian choreographer, director, interdisciplinary artist, and puppeteer Gisèle Vienne to Berlin.
When a dance artist can no longer create physical movement, one option is to start again by sewing fabric. The Noa Eshkol. No Time to Dance exhibition at the Georg Kolbe Museum in Berlin offered important insights into what creation can be.
In times of shift towards authoritarianism, militarisation, and planned major funding cuts, Berlin festival Tanz im August, founded just before the Wall came down, is preserving its original spirit to provide an open space for an international and local dialogue.
In the hot month of July, the 2024 Biennale Danza festival edition entitled ‘We Humans’ sought to give space to human beings’ need to communicate through movement.
While Italy's football team lost resoundingly, but not unexpectedly, against Switzerland, renowned Berlin-based choreographer Constanza Macras brought an engaging and emotional show back to the stage of the Volksbühne.
With Overture by Spanish choreographer Marcos Morau and Angel's Atlas by Canadian choreographer Crystal Pite, the Staatsballett Berlin and its intendant Christian Spuck present an evening that reconfirms how dance is able to give something back to the world.
Approximate Sonata 2016 (1996, 2016), One Flat Thing, reproduced (2000), and Blake Works I (2016) are the pieces by star choreographer William Forsythe that were premiered by Staatsballett Berlin.
Attending Tanztage Berlin is like diving into a warm, enveloping magma of varied dance vocabulary, where the fluidity of the aesthetic codes presented goes hand in hand with tackling urgent current political themes.
