press and resonance
Zerrinnerung
16.01.2022 Sächsische Zeitung: "Görlitz: Theater starts with sold-out house" / Ines Eifler
"...an intoxicating firework of images, music, moving choreography and a wealth of impressions that will remain in the memories of many ... impressive stories of the passing of time, of looking back, of love, pain and disappointment, of togetherness and loneliness, as well as of the emergence of art by holding on to and changing what is experienced..."
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André Markov, spectators' comments 15.01.2022
"An extraordinary evening. Dance theater of the highest order. The absolute symbiosis of dance, music, perfect costume design and the very touching art of Orly Azran. Weigert and Pelleg once again prove themselves more than capable of establishing a direct line between the piece and the me of each spectator. And there is no escaping that in this piece! The ensemble is superb and captivates in ALL!!! Points. A wonderful premiere evening and... Merci to all involved."
Phoenix
Ines Eifler, Sächsische Zeitung 01.05.2022
"What for one person is a burden, always subverting their joy of life, is borne by another with stoic composure. Whilst some find their way to each other in gentle harmony, which unites them in their love, others are brought together through coquetry, play, distance and passion [...] Sometimes life forces us down to our knees, sometimes we grow wings which make it all become easier.
With 'Phoenix', the dance company of the Gerhart Hauptmann Theater has created a wonderful piece of theater revolving around all these themes. With its worlds of sound, its colors and imaginative choreography, it tells of the ups and downs of life, of change and transformation, and of the diversity of human experience. In solo scenes, in couples, in trios or as an entire ensemble, the young women and men create a multifaceted gesamtkunstwerk that lives from their poetic, powerful to tempestuous movements."
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Mike Altmann, spectators' comments 06.11.2021
"What a rollercoaster ride of emotions. Phoenix - the Dance Company's latest work at the Theatre with the Beaver. We feasted for 90 minutes on Dan Pelleg and Marko E. Weigert's endless fountain of inspiration. Applause for the surprising ideas and yet another sensational choice of music with November's smash hit on the state of the planet. A bow - as far as age permits - to the ensemble's joy of performing, athleticism and stamina. Thank you for this evening."
Frahm, spectators' comments 16.11.2021
"...Touched, replenished, filled with gratitude! I am so glad you are here! In a place where it is currently very difficult to maintain compassion, togetherness, warmth. The minimalist, yet all the more effective stage design of the roller coaster, which appeared constantly in dialogue through the truly impressive dance performances, demonstrated compression, but ultimately also sovereign confrontation. The multicultural aspects of the musical, but also aesthetic expression of the confrontation captured the dimension of a universal taking action and feeling: The equally universal message at the end promises salvation and healing: Thank you all!"
DE FESCHE MODE
Görlitzer Anzeiger, 27.01.2020: "News from the Body Mastery Collective" / Mike Altmann
"To applaud sitting after this performance would be final resignation to old age. And so those who still can stood and cheered the dance company of the Gerhart Hauptmann Theater in Görlitz after the premiere of "De fesche Mode". It is about fashions, adaptation, belonging. That one does not have to follow every fashion trend was shown by the audience, the majority of which went to the premiere dressed in casual Lusatian haute couture. For Görlitz standards surprisingly young, good-humored and numerous. Show me a provincial town, where modern dance theater fills a large theater hall up to the ranks. The result of tireless work by the dance company and its creative heads Dan Pelleg and Marko E. Weigert..."
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Dresdner Neueste Nachrichten, 29.01.2020: "Dance in the mirror of the throwaway society" / Andreas Herrmann
"Now the theme is fashion, which on the one hand sets the scene as a witty history lesson with the costumes by outfitter Markus Pysall, and on the other hand in the evening choreographed by Dan Pelleg and Marko E. Weigert repeatedly ambivalently shows the social constraints by standardization or classification through clothing.(…)"
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Whereof one cannot speak
Sächsische Zeitung, 15.06.2019: "Dance theater speaks about the unspeakable." / Ines Eifler
"Like the previous production "Wonderland", the current dance piece is full of colors and beautiful sounds, to which the dancers move with all the grace and expression that bodies can..."
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Wonderland - Like Nightly Shadows
tanznetz.de, 12.02.2019: "STAYING CRAZY HELPS" / Boris Michael Gruhl
"In Görlitz, the eleven dancers of this new dance piece by Dan Pelleg and Marko E. Weigert discover their own wonderlands and embark on the journeys of their fantasies. Not least, these also refer to their own life journeys, which have led them from a total of seven nations of different continents to Görlitz. It goes without saying that the bright colors of the fantasies do not always shine, so the title "Wunderland" also has an addition: " - like nocturnal shadows"..."
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tanz, March 2019: "Görlitz: Dan Pelleg, Marko E. Weigert 'Wonderland - Like Nightly Shadows'" / Hartmut Regitz
"Are we all crazy? Seung-Hwan Lee writhes in a corner of the proscenium, which is designed like the padded cell of a psychiatric institution. Before the performance, the iron curtain is closed, of course, but every now and then two dancers ghost across the front stage "like nocturnal shadows". At least that is the subtitle of the "dance piece" at the Gerhart Hauptmann Theater, which Dan Pelleg and Marko E. Weigert call "Wonderland," but which does not tell the story of "Alice in Wonderland," as the two choreographers of the wee dance company, once based in Berlin, explicitly assure in the program booklet..."
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Sächsische Zeitung, 28.01.2019: "Between dream and life" / Ines Eifler
"What a wonderful piece the Görlitz Dance Theater has just put on stage. Fans of the English classic "Alice in Wonderland" will really enjoy it! The white rabbit, the Mad Hatter, the enigmatic caterpillar, the heartless Queen of Hearts, froggy footmen and rebellious playing cards: with a little imagination, they can all be recognized in the production "Wonderland, like nocturnal shadows", which premiered on Saturday to a sold-out house..."
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Typical...
tanznetz.de, January 2018: "Clichés from the box" / Boris Michael Gruhl
"Markus Pysall has placed a large box with twelve drawers on the otherwise empty stage of the theater in Görlitz for the new dance piece by Dan Pelleg and Marko E. Weigert. The drawers are labeled, two letters each, from A to Z, so there is room for the whole alphabet and especially for the twelve protagonists of the Görlitz Dance Company..."
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Sächsische Zeitung, January 2018: "Registered from A to Z" / Gabriele Gorgas
"Everyone needs encouragement, especially in complicated situations. And in Görlitz, it has long been possible to speak of such encouragement, jobs are a dying species, which can soon be found in the Senckenberg collection. No wonder that over the years the dance actors from the Gerhart Hauptmann Theater have repeatedly dealt with how people feel who are degraded to a kind of shifting mass, disappear coded in registries or are completely "sorted out". This makes one angry and perplexed, and challenges one to rebel and show solidarity by using one's own means..."
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Rendering - The Story of a Boy Who Went Forth to Learn Fear
Sächsische.de (SZ), 26.06.2017: "Before the first note a kiss" / Marcel Pochanke
"Franz Schubert's tenth and final symphony, even more unfinished than the Unfinished, taken up by a fearless 20th-century composer - there's a fairy-tale, classical dance almost a modern refraction again. Weigert and Pelleg rarely demanded and shaped so much conventional ballet school, wrapped in Minssen's surprising costumes. In terms of content, they rehashed the story "of one who went out to learn to fear.".."
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The Rite of Spring
Sächsische.de (SZ), 26.06.2017: "Before the first note a kiss" / Marcel Pochanke
"Pelleg and Weigert freshly take apart the plot around the girl who is ritually sacrificed. In the place of the one, they put a couple who kiss each other even before the first note and from then on are repeatedly prevented from uniting by mustering all their physical strength. "Sacre" in Görlitz wants to avoid the severity that has often been choreographed into it in its hundred-year performance history..."
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iHome
tanznetz.de, 13.03.2017: "OUR HOME IS THE BARE SKIN" / Boris Michael Gruhl
"Dan Pelleg and Marko E. Weigert have conceived this evening together with their ensemble. The 13 performers come from 12 countries and bring with them, above all, the experience of what it means to become at home in faraway places..."
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Die Deutsche Bühne, 10.03.2017: "Home, a glass house" / Ute Grundmann
""iHome" asks many questions: what and where is home, how do you connect, ally with other people, when do you have to fight, is a new place just a refuge or already home?..."
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Watch Out: Glass!
Sächsische Zeitung, 05.04.2016: "Train riding with lionesses" / Irmela Hennig
"A large part of the individual pieces were choreographed and equipped by ensemble members themselves. The choice of music is wisely made, because the monotony of some Philipp Glass works can also be annoying. But the evening offers romantic piano solos, text passages and sounds reminiscent of Irish folklore in addition to its typical minimal music..."
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In the Name of the Rose
gefläshed - Magazin for music and culture, 20.05.2016: "The name of the rose is danced in Görlitz" / Oliver Hafke Ahmad
"The dance theater piece based on motifs from the 1980 novel by Umberto Eco "The Name of the Rose" celebrated its premiere in Görlitz on Pentecost Saturday to much applause. The choreographers Dan Pelleg and Marko E. Weigert let their eleven-member international mixed-sex ensemble in gloomy monk's robes tell the crime story set in the 14th century in a Benedictine monastery about right and wrong faith and about the deadly danger that comes from books, from knowledge and from power unmasking humor..."
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Die Deutsche Bühne, 17.05.2016: "Redeemed? Liberated?" / Ute Grundmann
"A tome pops out of the sky onto the stage. Monks in dark robes circle the closed volume, crawling, crawling around it fearfully and reverently. Whether it is the "Book of Books" remains open, but there must be something magical about the way a single monk, surrounded by Benel, carefully turns a few pages. This time-honored book is almost the only direct reference to Umberto Eco's novel "The Name of the Rose," after which Dan Pelleg and Marko E. Weigert have based their new ballet evening at the Theater Görlitz..."
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tanznetz.de, 15.05.2016: "A ROSE IS A ROSE, IS A ROSE..." / Boris Michael Gruhl
"One can always recognize motifs that are meant to show the struggle of the body and its claims in resistance to its veiling and the associated oppression of the individual..."
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The Little Mermaid
tanznetz.de, 24.01.2016: "SPEECHLESS IN THE FOREIGN" / Boris Michael Gruhl
"Again and again, Pelleg and Weigert try to break through the traditional stage guidelines in dance, especially to let the dimensions of the representation of their ideas, which have risen from concreteness into the aesthetics of the fantastic, become pictorial..."
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Sächsiche Zeitung, 25.01.2016: "Dance in Tail" / Birgit Weise
"The choreographers Dan Pelleg and Marko E. Weigert present the audience with a special kind of dance evening - with aerial acrobatics a new dimension of dance is conquered while floating..."
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AQUA
Allgäuer Zeitung Kempten, February 2017: "Exhilarating - and brutal" / Michael Dumler
""Aqua" is the name of the spectacular performance of the dance company of the Gerhart Hauptmann Theater Görlitz-Zittau, which after almost 100 minutes animated the audience in the sold-out municipal theater to long applause. (...)
The ensemble had already caused a sensation twice at the Kempten Tanzherbst under the name "Wee Dance Company": in 2006 the dancers dealt with order and chaos, in 2008 with time. They also hit the bull's eye with "Aqua"..."
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Sächsische Zeitung/letter to the editor, 20.01.2015: "Tsunami at the Görlitz Theater" / Friedemann Dreßler
"What the dancers from Görlitz reach in "Aqua" are new shores. Obvious connections of thoughts are choreographed in a subtle way. Brilliant to watch, the company plays with water, light, reflections in formations, in pairs, soloistically..."
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Sächsische Zeitung, 19.01.2015: "The water surges, the water swells" / Gabriele Gorgas
"At the premiere of "Aqua" at the weekend in the Theater Görlitz, water is omnipresent. And the two heads of the company, the choreographers and dancers Dan Pelleg and Marko E. Weigert have managed together with everyone to relate to the source of life so devotedly that it is a lustful, loving, wondering game..."
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Sächsische Zeitung, 14.10.2015: "The people of Görlitz love it wet - »AQUA« PUBLIC AWARD BY TMV" / Daniela Pfeiffer
"The audience of Görlitz has chosen its favourites: The dancers have hit the nerve of the audience this time and receive a special prize.
Wellness for the tired legs, the battered backs. That's just the thing for our hard-working dancers who sacrifice so much in training for hours every day. That's why Renate Winkler and her club colleagues decided to give the dancers of the dance company 1000 euros for a wellness day together. But not just like that, but because this time they came out on top in the audience vote at the Görlitz Theatre. Both "Romeo and Juliet" and "Aqua" - that impressive play on a wet stage - were most convincing last season..."
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Short Transit Görlitz-Zittau
Upper Lusatia Life, 29.06.2014: "Premieres serendipity" / Ramona Faltin
"In short pieces, the Upper Lusatian dance company impressed with high artistic standards and a universe of dance sequences and sensations. Indescribable. "short transit Görlitz-Zittau" must be seen..."
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Romeo & Juliet
HaBama (The Stage) Israel, 15.12.2015: "Romeo & Juliet: Relevant for our World:" / Tsvi Goren
"Everyone can be Romeo or Juliet, a family member, lover or rival. And this is the central and essential idea that leads through the piece: in its texture and its stage interweaving of the dancers with the set design by Till Kuhnert, with the wonderful lighting design by Marko E. Weigert and with Markus Pysall's costumes, which recall the era of the play.... after the intermission I sat fascinated by the movements that reach a dramatic scale..."
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dancetalk.co.il, Israel, 15.12.2015: "Romeo & Juliet in Machsan 2, Jaffa Port" / Ora Brafman
"...These two adjustable mobile apparatuses left the audience astonished and opened up countless possibilities of movement that could not have existed on a flat stage.... An abandonment of linear narrative in favor of fragments of reference to the original text in snapshots, like lightning-like images that draw a sequence throughout the play.... Opting for this benefited the spirit of the piece, which was characterized by much grace and originality, and reaped the benefits of the evening's narrative freedom thus gained...this was a group of dancers who ... formed a delightful team of performers on stage ... the resulting piece is complex and full of exciting and beautiful parts. A solid basic structure was perceptible, on which layers of mostly high esteem arousing fragments were built..."
Haaretz Israel, 16.12.2015: "That is why you are Romeo" / Ruth Eshel
"The movement language in "Romeo & Juliet" is wonderful and the dancers exude sincerity..."
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Audience Letter, Director Sha'ar HaNegev Dance Center, Israel, 23.12.2015: "Thank you!!! " / Efrat Kenan
"Quality, at the highest level, the likes of which I have not experienced in recent years (or even the last decade)..."
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Dresdner Neueste Nachrichten, 29.01.2014: "So deep, so far, so close to the audience" / Boris Michael Gruhl
"There is the music, there is the dance, and in the choreography by Pelleg and Weigert in collaboration with the company there is no mercy. Time and again, the eleven dancers astonished the audience with downright athletic acrobatics, when the very defenseless situations into which Romeo and Juliet put themselves for the sake of their love are made visible in dangerous situations..."
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Sächsische Zeitung, 04.08.2014: Thus was the Dance Season / Gabriele Gorgas
"The most interesting. Whatever they get up to, Dan Pelleg and Marko E. Weigert, the versatile directors of the dance company from the Gerhart-Hauptmann-Theater Görlitz/Zittau, there are always sympathetically crazy ideas there ... And when Juliet barely finds her footing between the two families' "strongholds," it's a truly mind-blowing image."
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Alpha 1
tanznetz.de, 17.06.2013: "AND THEN THEY PROBABLY FLOAT AFTER ALL" / Boris Michael Gruhl
"These explorations of an imaginary landscape, as good as hovering between hellish depth and heavenly height, in which there is very rarely any contact with the ground, are followed by the audience in palpable amazement, ever-increasing enthusiasm, repeated applause in between and much joyful cheering at the end. And this despite the fact that it is the second performance. Even a sunny Sunday afternoon could not prevent the interested people of different age groups from seeing the latest production of their dance company..."
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the butterfly defect (restaged at the GHT)
tanznetz.de, 31.10.2011: "PEOPLE, BOXES, TENDERNESS" / Boris Michael Gruhl
"These are the old questions: Where do we come from, where are we going, where are we right now, do we manage to get on alone, or better in twos, threes, in a group. Who shows us the way and what if we still miss our way. Everybody has his box to carry, it can be huge or very small, it can be empty and hollow or contain something of what keeps us alive, and our little goldfish too..."
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Ofnaʻit, 19.02.2014: "A evening of dance and inspiration" / Chen Sivan
"... And - wow! - what a happening. When the performance was over, I was a bit extreme about what I still stand by now, 24 hours later: I've been watching contemporary dance for 45 years and had yet to see a comparable piece."
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Reʻu Huzhartem ISRAEL, 19.02.2014: "butterflies in the stomach" / Gal Barkan
"And then it started: seven dancers dressed in black, huge cardboard boxes and a creativity that never ends. One's breath is taken away by the beauty..."
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the butterfly defect
Berlin Live - Berliner Morgenpost Culture Magazin, 26.10. - 1.11.2006
"...That the wee dance company decided to present its renewed production of "the butterfly defect" is a real stroke of luck..."
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Leipziger Volkszeitung, 17.09.07: "Entrancing, dreamy, fleeting" / Stefanie Möller
"... in their entrancing piece ... to dreamy Swedish folklore they play an orientation-game, which is perfectly choreographed and danced, and which spans all moods from comic to melancholic. With a fascinating lightness the dancing particles always find the unforeseeable yet most beautiful way to and from each other."
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Leipzig Almanach Kulturtagebuch - 14.09.07 / René Seyfarth
"... perfect technique ... astounding ... sultry eroticism, lyrical melancholy, hectic hustle and self ironic play are but some of the moods, which constantly succeed each other ... an excellent interplay of choreography and light design ... undoubtedly an artful move by the LOFFT for an extremely successful opening of the 'Tanzoffensive' Fesival."
original articleResponse by Jean Severin, Speaker of the Bundes- und Landesmusikakademie Rheinsberg
"...much energy, many good ideas – well put into practise -... I was thrilled! One should become a patron to give out money for this. ... Thanks to productions like the butterfly defect one can rest assured, that a cultural future indeed exists - and the up-and-coming artistic generation seems to be well cared for... Quite peculiar – last Saturday I went to watch it again. Still delighted. I hope the media appreciated this event."
read the original emailVolksstimme, 30.03.04: "Physical storytelling force, before which words pale" / Katja Tessnow
"…Love must remain boundless. The 'wee dance company' from Berlin told this usual tale with a less usual approach … Three women and two men dance and you're left out of breath. For one thing, because it’s technically so perfect … but what renders the spectator most breathless is the great beauty which is there when real encounters between people occur."
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Die Tageszeitung, 30.07.02: "Safely Landed - Seldom is dance such an infatuated affair as in 'the butterfly defect' by the wee dance company" / Katrin Bettina Müller:
"...Dancers are professionally trained specialists in direction changing; what would therefore make more sense, than to make a piece about love in the age of automatic navigational systems. ... An Alphabet of affection is invented in huts, on rafts and beds. ... How, despite chaos, equilibrium is found, is one of the themes. ..."
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Berliner Morgenpost, 27.07.02: "Dreamy Elf-like beings float through the Sophiensæle" / Andrea Philippi
"... Pelleg and Weigert, together with three additional new dancers, conjured up a kind of surrealistic Wonderland, in which high flying dreams are repeatedly shattered by harsh orderliness. An Evening full of charm..."
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Der Tagesspiegel, 30.07.02: "Folded Together" / Denise Dismer
"...Acrobatics, hide-and-go-seek and other childhood games – all this is what this battle consists of, in which the participants are constantly threatening to lose their balance, but catch hold of themselves in the last moment. 'the butterfly defect', the wee dance company's new piece, thrives on the dancers' playfully ironic physical language. With subtle wit they provoke the audience in the Sophiensæle into laughing; allowing proud, yearning, envy and aimlessness speak through their movements..."
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Berliner Zeitung, 27.07.02 / Michaela Schlagenwerth.
"... with an overflow of good ideas, the right timing, and excellent dancers: clearly, an enchanting evening. Charming, witty and sometimes downright heart warming. Playfully and at times indeed melancholically, the five dancers continually put themselves to the test in a balance between order and chaos. ... There is sensually charged, excellently choreographed dance, ... and finally you realize, this is the company's best piece."
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Bach (e)motions
Sächsische Zeitung, 14.05.2012: "powerful effortlessness" / Gabriele Gorgas
"… A gripping opening in dialogue with J. S. Bach's Brandenburg concerto No. 2. Pelleg creates dynamic images with powerful effortlessness. A body language as individual as it is characterized by a unique group dynamic, excellently danced... One of the evening's contrasts is presented by Steffi Sembdner's solo, with few words and a striking body language... Laura Keil and Marko E. Weigert name their confrontation “Entangled”, in which a table becomes an “Apple of Discord”, an occupied territory, a site of reconciliation... “Dawning”, by Pelleg/Weigert, is about the fragile balance, in which Niko van Harlekin and Virginie Nass have strength and fragility join to the touching “et misericordia”. "
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Dance. A Play
die deutsche bühne 03 / 2012: "Discourse in Matters of Dance" / Hartmut Regitz
"Dan Pelleg names his discourse “Dance. A Play”, and he stages it with his own rather impressive script. Expressionist dance and dance theatre, representation and deconstruction, history and present day: all that is reflected roundly in this piece, showing at the Gerhart Hauptmann-Theater Görlitz Zittau, a piece which functions as a highly pleasurable, pictorially thought provoking lecture-demonstration in matters of dance..."
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Dresdner Neueste Nachrichten / 24.01.2012: "First watch, then, perhaps, talk – or perhaps not" / Boris Michael Gruhl
"… [The dancers] convey, even without words, a touching impression, as the choreography's proficiently sparse movement material transforms through the dancers' various states of mind. They convey eloquently how sensitive and fragile this art form is; how important it is that dance, modern or classical, not distort the dancers' personality; how the spectator sees something which, although natural, is not mundane: a person is so moved by something, that she herself must move, mobilising the exhaustion of every possibility of her body, leading even to border crossing. Imperative to mention are the poetic animation films to texts by Hans Christian Andersen, Michael Ende and Kai Grehn, animated by Benjamin Hohnheiser and Judith Holzer with black and white illustrations by Johannes Figlhuber. Especially Grehn's text, about the path of the salamander and the meaning of the stones that have been touched by the creature's magical elegance, reveals much about the ambivalence of the art of dance."
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Tanz / March 2012
"…An exhilarating and illuminative contribution to the theme “Concert Dance”…"
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Black, No Sugar
Rhein Zeitung, September 2012: "Dance pure, offered with all its facets – Another sparkler at the theatre summer" / Matthias Keidel
"…a highlight … the wee dance company of the Gerhart-Hauptmann-Theater … elated its audience … which, especially during silent phases of the piece almost didn't dare to breath … the dancers developed dynamics and a strength on stage, which left each and every spectator utterly spellbound … unusual images … the audience showed its gratitude with an enduring applause, which the ensemble had certainly earned."
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Dresdner Neueste Nachrichten, April 2011: "Sold-Out Finale" / Gabriele Gorgas
"... At every phase the one-hour-long piece was tightly and intensively told... Especially captivating, through a performance filled with suspense and grasping throughout the space, were the wilful qualities of dance... a dynamic, well thought-through structure... not lacking in sensuality, either... with surprizing compositions, lifts, shifts, each dancer remaining individual and prominent."
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Neues Deutschland, 07.10.2009 / dance for you! magazine, Nov. / Dec. 2009, p. 38: "Modern games with conventionalised forms" / "Pure Dance and Pleasure" / Volkmar Draeger
"...four women, three men, all profound artists... with a tight and supple movement language...
with a vocabulary which makes the bodies open wide, steers them off their axes, twists them in spirals, relays impulses, produces temporarily entwined sculptural entities...
All this happens with a flow so joltless, contributing to the pleasure as does the permanent search for tenderness...
Especially sensitive are the agglomerations within a constrained light, when people are shown undisguised.
At times, humour triumphs... However then real emotions re-erupt...
At the end of the day, quality asserts itself."
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Siegessäule, October 2009: "They Dance!" / Torsten Träger
"… The handholds and turnings project a strong attentiveness, a special awareness of themselves. As spectators, we perceive the elementary movements ourselves almost physically – all the cautious holding, carrying and pulling: pure dance, "black, no sugar", if you please – and Dan Pelleg and Marko E. Weigert, founders and choreographers of the wee dance company, want it that way. Exactly that way. With this radical-purist approach to dance they return on their decennial anniversary to their roots: in 1999 they wanted nothing but to dance – and thus to counter the fashionable trends in the dance-theatre scene, in which interspersed video projections, readings and acting were increasingly distracting the mind from the actual thing. Within the Berlin dance scene the wee dance company is therefore, despite many commendations, regarded as not-so-hip – the audience however, in Berlin and on the many international tours, is enthralled over and over again with the company's joy in dancing. For "Black, no sugar" the wee dance company renounces a theoretical superstructure or preliminary to "explain how the piece should be understood". Instead, they wager everything on the spectators' perception and their ability to read out, on their own, the absolutely inherent statements on body, movement and the human condition."
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tanzpresse.de, 10.10.09: "In a mist of clarity – the wee dance company with „Schwarz, ohne Zucker“ at Tacheles" / Annette Jaensch
"...three men and four women, find each other to form pairs, then strive away again in an enigmatic no man's land. Through the years, the wee dance company has maintained a distance to conceptual dance, ubiquitous on Berlin's stages... "Schwarz, ohne Zucker" does without a storyline, and yet it transports meaning sharp as a razor, as when attraction and rejection between people are tested in intensive duets. The music is the dancers' true ally... the precisely choreographed group sequences... signifying that under the surface another layer and another truth lies hidden. "Schwarz, ohne Zucker" may allude to the principle of being pure, pristine. One wishes the company it may maintain this link with the essential."
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Quattro Balli
Annaberger Wochenblatt, 22. April 2013 / Eveline Figura
"Quite differently, six dancers of the Gerhardt-Hauptmann-Theater to the music from "Quattro Balli" by Chr. Willibald Gluck: Embedded in classical Baroque, Dan Pelleg/Marko E. Weigert (choregraphy) succeeded in bringing so much lightness and humor into the couples' movements that innovation between historical music and dance emerged. Bravo!"
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10 years wee dance company
TanzRaumBerlin, October-September 2009: "The Fashion-Resistants" / Tom Mustroph
"For ten years the group has been active in the city, belonging neither to the “top dogs”, who dictate the dance scene's discourses and festivals, nor to the alleged shooting stars, entrusted with theatres for a season or two by theatre directors wanting innovation… During the company's ten years a style has emerged which is minted by an elegance of movement, a thematic stringency and a pinch of humour… The theme at the base of each piece is always evident, a fact due to which the group has been decried as “naturalistic” and “narrative”, labels which fail to recognize that “wee dance” does not concern itself with the simple imitation of the existing world but rather merely utilizes specific observations to prompt the articulation of movement. These observations are then not encrypted to the extent that an evening programme would be necessary in order to recognize them. wee-dance's way of narration has received high praise from avant-garde literary circles as well, since their dances' narrative structure is associative and fragmented – not at all linear or static. Today, still, it is astounding how much dance, especially for Berlin, “wee dance” provides. “We never complied with the changing fashions, but followed our own path”, says Marko E. Weigert. Their path, in fact their entire agenda, is anchored already in the group's name: when founding their mini-company ten years ago, Weigert, Pelleg and Ulrickson did not name it “We(e) Deconstruct”, but “wee dance”."
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Forum internationaler Kunst aus Berlin, 15.09.09: "They Dance for the Audience" / Edv
"… for the wee dance company, however, strength and aesthetics, emotion and beauty do not submit to an ideal of absolute precision… It is a continuous search for unusual images. Thus a human-abstract and spatial-concrete associative imagery is formed and yielded to the spectators for free interpretation… It is contemporary dance, which celebrates the preciousness of human movement.”
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There's Time
3SAT / Kulturzeit, 30.08.2005: "timeless beauty."
Neues Deutschland, 30.08.2005: "Time Stops" / Tom Mustroph
"... This group, with its elegance, meticulousness and rich inventiveness, wonderfully distances
itself from the trite, hysterical twitching, which currently dominates Berlin's dance scene.
It satisfies a longing one didn't even know still existed."
original article
Sächsische Zeitung 21.01.2013: "Görlitz's dance company captivates with beautiful images..." / Anne Jung
"a jewel … beautiful images, revealing a deeply humanistic message boldly and unencumbered by programmatic obscurity … a perfect frame for this clever and profound piece"
read more (longer translated excerpt and original article)
tanznetz 21.01.2013: "Timely Dance" / Boris Michael Gruhl
" … On this evening, time flows between us and the dancers, whose energy repeatedly enthrals us, leaving us with the feeling of having experienced moments of joy, which make us wish that time would stand still."
original article
Dresdner Kulturmagazin 01.2013: "In Search of Lost Time" / Anne Jung
"Time is relative … if you want proof, go to Görlitz and watch Dan Pelleg and Marko E. Weigert's latest brainwave … In "There's Time" they move elegantly between profound philosophical moments and ironic grins, their statements are subtle, conveyed through strong and touching images."
original article
Kulturkreis Kassel 30.03.2006: "Just bring your time back" / Juliane Sattler
"Poetic dance-miniatures, a flowing, lush movement style, ... subtle and precisely choreographed sequences ... The images seem to coalesce almost casually into the surrealists' mysterious metaphors in stylistically confident poetry."
original article
Dresdner Neueste Nachrichten, 03.05.2006: "Rhythmic Timeware" / Bistra Klunker
"... If you have some time left over in the real, hectic world, you should spend it with Berliner wee dance company's dancers - at least for the duration of their production "There's time" ... with light surrealistic imagery ... the sequences demonstrate dance craft ... your time will prove to have been well invested."
original article
Allgäu-Rundschau, 22.11.2008: "virtuosic search quest for time – Kemptener Dance Autumn: The Wee Dance Company thrills at the opening of the Festival" / Silvia Reich-Recla
"... After 2006, the wee dance company from Berlin causes enthusiasm yet again at the Kemptener Dance Autumn Festival. 'There's Time' is the Motto of their avant-garde performance. It's about time... Modern dancing that touches... The applause surges and persists."
original article
Commersant Newspaper, Juni 2006 / Tatjana Kusnjetzova
"The German 'wee dance company' was practically the only group in the festival which appealed more to the audience's intellect than to its emotions. 'There's Time', by Dan Pelleg and Marko E. Weigert, examines thoroughly and humorously that intangible thing called 'time' and succeeds in doing so in exactly one hour. The young German group presented an excellent performance, which stood considerably above those of financially more privileged groups."
more /
original article
Kultura Zeitung, Juni 2006 / Alla Michalewa
"... but most importantly, their dancing is energetically charged, and thus the one-hour-long performance – the time is indicated by an hour glass downstage – seems not long at all, as if time were actually accelerated (something you can't say about the entire festival: during quite a few performances time seemed to stretch to exhausting lengths). Now the festival is over – too bad it's time."
morer /
original article
Tantseval'ny Klondayk, Juni 2006
"in 'There's Time'' by the wee dance company' from Germany… dance theatre is given modern arms and legs… interesting video clips and contemplations about time… all this leads one to believe that these young people will achieve anything they set themselves to, as long as they don't deviate from their chosen way. In conclusion: the European Dance Evening was a success."
more /
original article
Nezavisimaya Zeitung Juni 2006 / Maiya Kruilova
"The Russian critics' favourites, the dancers of the German Group 'wee dance company', researched deeply the concept of 'time'…"
original article
Jaffa-Berlin Short Transit
Den Haag Centraal, 15.11.07 "Berlin-Jaffa Shortcut brings two worlds together" / Ilse van Haastrecht
"Just as the dance gives these filmic scenes a beautiful addition, this works also the other way round. The short films tell the audience about the funny, exciting or sad moments of being underway. On stage we see these living moments translated into dance, thus the spectator can situate the movements and relations between the dancers in a larger whole of everyday life instead of only in the theatre. That makes the perhaps fraught cooperation between the companies from Israel and Germany relevant; the two groups bring in a surprisingly unanimous manner their two worlds closer to each other and closer to real life."
original article
106fm 05.03.2006: "Train of Surprizes" / Dafna Levi
"I'm sure you know the feeling of experiencing something so good, that you prayed it would never end. Well, that's how I felt yesterday at the opening performance of wee dance company from Berlin and De De Dance from Israel. … fascinating choreographies… hypnotizing, skilled performing you can't take your eyes off of for a moment… your thoughts break free of your body and join the dancing on stage… simply brilliant."
original article
Layla Ynet 02.03.2006: "Dance of Life" / Ronit Ronel
"Mostly when I watch [contemporary] dance I find myself feeling terribly sorry for the poor dancers impossibly contorting their bodies, and am bored to death. On the other hand, when I'm lucky enough to come across a good performance, something wonderful happens to my body… which is what happened when I watched "Jaffa-Berlin Short Transit" at the Suzanne Dellal Centre: a delightful union of the Israeli De De Dance and the German wee dance...
connecting artists from around the world, this evening succeeds in combining German uncompromising meticulousness with Israeli mischievousness into one harmonious ensemble. This, the beautiful music and the dancers' superb technique all merge into a sweeping, exciting and stirring evening."
original article
GayMap, 17.04.2005: "Stormy Date between Berlin and Jaffa" / Ziv Tidhar
"... instead of an irritating cough artillery and the creaking of seats threatening to collapse under the surplus of buttocks, the ten dancers obtained a fascinated, one-hundred-percent concentrated audience … the diverse subjects – bodily borders, romantic relationships, death and also politics – are moderately provided … there's much humour and joie de vivre … a convincing encounter, non-oppressive and sometimes amusing … The Videos are fascinating and extremely aesthetic, presented in a good tempo, without a trace of provincial presumptuousness … After the two-hour-long performance you're left with a liberating, feminine, glistening and fresh sensation."
read the translated article ▪
original article
HaBama Editorial, 7.04.2005: "'Berlin Jaffa Short-Transit' - Film, Dance, Enjoy " / Zvi Goren
"... an evening of gemstones in dance and video ... fresh movement ideas, humour and strings of hurting and sadness, loneliness and intimacy ... The greatest virtue of this evening is the unity which is formed by the pieces and the films ... Each one of the pieces presents an aspect of a search for an existential essence ... "Berlin-Jaffa Short Transit" is a highly communicative dance performance, without compromising the artistic truth which governs it."
read the translated article ▪
original article
2011 Tour: "Berlin - Jaffa Back and Forth"
The Jerusalem Post, 30.03.11 / Ora Brafman
"…a most impressive production... [that] keeps its focus on small, intimate moments within an alienated setting and goes so
far as to break the division between professional and personal life... All nine dancers work extremely well together as an ensemble,
endowing the performance with highly polished, topnotch production value, which was a pleasure to see... very clever lighting and
dramaturgical editing... All together... the evening retained intelligent, aesthetic control and a finesse along logical kinetic
work... [a] highly refined evening."
read the entire article (in English)
Next Door
Neues Deutschland, 8./9. September 2007: "Portraits of shy beloveds" / Volkmar Draeger
"... dramaturgically clever ... inventive duets and trios full of lasciviousness,
acrobatic concatenations and plaitings ... a delicate portrait of self-conscious shyness ... with which the three founders of one of the most substantial, most versatile, internationally
most active Berliner ensembles ... have once again met."
original article
Haller Tagesblatt, 02. August 2007 / Tanja Kampe
"In dance, the three performers display the complete emotional range of love ... impressive ... although there's no happy end, the audience is thrilled."
original article
plan b
die tageszeitung, 28. Juli 2001 / Katrin Bettina Müller
"Wonderfully pervious ... hidden at the root of their dancing one suddenly senses jubilation and prayer ... The energy with which they continually invent new forms of dance and of encounters in duets and trios is driven also by defiance ... The dancing assumes the intimacy of the music and at the same time the impossibility to seal oneself off to the harshness of reality. The emotional, touching scenes repeatedly dissolve into ironic play... The images are held together by a frame of circus drums and game-show elements, with a wee bit of nostalgia for the variety-show artist and a gentle parody on the entertainment culture of our time."
original article
Sächsische Zeitung, Freitag, 6. Juli 2001 / Gabriele Gorgas
"... Their premiere of plan b at the Derevo-Laboratorium is surprising, playfully open in its means …remarkable scenic ideas … simply superb."
original article
Dresdner Neueste Nachrichten, 6. Juli 2001 / g.g.
"... The wee dance company is one of the most delightful examples of how casualness and quality combine in an intelligent symbiosis."
original article
(for "Plan B" see also reviews from the Edinburgh Fringe Festival
(of excerpts out of "plan b", of "let's sleep on it " and of "blocked")
Äug
Mittelbayerische Zeitung, 2.12.2000 / Harald Raab
"... dance in technical and acrobatic perfection and an unconventional wealth of inventiveness … Here you'll find no style-stereotypes. Here all means available are employed with sovereignty, both very naturally and poetically, and dramatically as well. Here people are creating states of mind with their bodies ... This choreography carries a message of mankind’s fragility…"
original article
Stuttgarter Zeitung, 26.1.2001 / Bernd Krause
"...a remarkably original sequence of variations on a theme, shaped through acrobatic duos performed with a breathtaking lightness and unison ensembles, switching from dancing to acting and back again. Some of them appear puzzling … others oppressively enlightening … richly diverse, intelligently created dance – these young Berliners could have captivated their audience for longer than one hour."
original article
Sächsische Zeitung, 7. Juli 2000 / Gabriele Gorgas
"... These are truly excitingly imaginative and sensitive dancers and choreographers, who create such a unique sort of theatre, that one is constantly compelled to intensive perception, and may watch, contemplate and associate abundantly. At the same time there's a lightness about it all, as if it all were just being invented on the spot. A good mixture of nations, this coming together of young artists from Germany, the USA and Israel."
original article
Zitty, Nr. 17/2000 / T. M.
"Fragments of wonderful dance are presented by the wee dance company… one goes utterly into raptures as Dan Pelleg and Marko Weigert, transforming into "dance-twins", move elegantly and coolly in their accustomed way through space and time. Sometime their colleague Sommer Ulrickson joins perfectly into this matrix of flawlessly formed litheness, sometimes she's their counterpart aiming solely at expression. … Cold, dispassionate words meet with charming, sovereign, nonchalant dancing."
original article
Der Tagesspiegel, 06.08.2000, Hooked Glimpses, The wee dance company Guests with "Äug" in the Sophiensæle / Sandra Lucina.
"… The trio places its bets on light-footed wit and playful earnestness. The theme of eye-contact is then also varied in a comedian-thriller-like way: … Everyday situations are driven again and again into a dance-abstraction. The breathtaking dancers of the wee dance company favour a flowing-supple style with duets of a high-standard, the couple's-quarrel is masterly-ironically cushioned too. … The trio succeeds in presenting humorous scenes and apt observations."
original article
Berliner Zeitung, 11.08.2000, Scenes from the Marriage-Catalog, The wee dance company with "Äug" in the Sophiensæle / Michaela Schlagenwerth
"…The spectators sitting in the theatre have high expectations. As the piece comes to an end, enthusiastic "bravo" calls demonstrate just how well they have been taken care of by the wee dance company. The dancers … share a sympathetic non-complexity. They take pleasure in movement-dialogues with elegant, sharp-witted malice, and even the well-worn act of one bar-singer and two men… wins new facets thanks to their disarming freshness."
original article
Die Tageszeitung, 05./06.08.2000, The Power of Indicating, Is Truth on Language's Side or on the Body's Side? / Katrin Bettina Müller
"... We already knew that they master toladá-choreographer Joseph Tmim's flowing, pleasurable movement style. That they want more than that in their own pieces transpires in their first long production, "Äug", in the Sophiensælen. …"
original article
Die Welt, 10. 08. 2000 / Stefan Schmidtke "Don't be stiff!
confrontations end mostly in abstraction through dance, which often have in store unexpected and absurd turnabouts..."
Let's Sleep On It
Blocked
Old Hat
israeldance, 23.07.2004/ Giora Manor "Stick around for dessert …
and then comes 'Blockiert'. Although in German this title means 'blocked', this piece is in fact full of movement and is fascinating, and is performed outstandingly by the dancers. At last something with atmosphere, which is actually danced – the way dance should be… and it turns out that these dancers and choreographers can create excellent dance and perform it convincingly… 'Blockiert' – in spite of its title, flowing and open."
original article
Marburger Neue Zeitung, Samstag, 29. Januar 2000 / Heike Döhn
"Dance filled with infectious lightness and pure power - The body as a well-mastered, virtuosic instrument, with which also small stories can be told... "
Berliner Morgenpost, Freitag, 17. September 1999 / Volkmar Draeger
"… the recently founded "wee dance company" managed to leap directly to the Witty and original, dynamically balanced and with an idea well thought through, Dan Pelleg, Sommer Ulrickson and Marko Weigert live out their fray in little scenes. Not a dry piling-up of movements, but rather high-standard dance, léger, supple, and musical"....
Der Tagesspiegel, Montag, 6. September 1999 / Sonja Bonin
"… opening the "Dance Days in Pfefferberg", freshly founded mini-dance-troupe "wee dance company" practically swept the audience out of its seats with sheer enthusiasm. With all the pep one could wish for, with audacity, charm and a talent for acting … elaborately acrobatic and witty … with its contagiously exciting production, the small troupe celebrated a highly promising debut. We may consider ourselves lucky to have it in town"....
original article
Lausitzer Rundschau, 10. Dezember 1999 / Jan Selmons
"It all appeared so light and playful … The dancers showed refreshingly dynamic and unconventional dance-theatre. After a few moments the three dancers captivated the audience … their dancing developed an unbelievable intensity … deep symbolism emerged, but morals weren't overstated … Despite acrobatic interludes the piece still appeared to be an improvised game … A truly beautiful evening … Wee means small. What the dancers presented on Thursday evening at the Glad-House was, however, indeed grand"
original article
Oberhessische Presse, Samstag, 29. Januar 2000 / Julia Lederer
"… the dance-trio 'wee dance company' repeatedly launched with its wonderfully ironic and mockingly exaggerated presentation … attacks at the audience's laugh-muscles … the company dancers … demonstrated through scenes of highly expressive dancing various possibilities to individually define the sense of life, or, rather, what would be the best way to do this."
Marburger Neue Zeitung, Samstag, 29. Januar 2000 / Heike Döhn (cont.)
" the three dancers romped across the stage with a contagious lightness, where they met playfully and cheerfully, repeatedly interrupting the flow of the dance just to pick it up again with nimbleness and agility which made the enormous physical achievement appear almost trivial. Almost becoming acrobatic, the three dropped their bodies on each other and interwove them, creating forms with always new and surprising volts."
Oberhessische Presse, Mittwoch, 2. Februar 2000 / Christina Eibisch
"Dan Pelleg, Sommer Ulrickson and Marko E. Weigert of the wee dance company presented perfect Modern Dance."
original article
Giessen Allgemeine Zeitung, Mittwoch, 2. Februar 2000
"The Trio resembles one dancing unit. Each step, each single movement … The audience displayed its fascination with loud applause."
original article
Berliner Zeitung, Dienstag, 7. September 1999 / Wiebke Hüster
"a wonderfully well-teamed trio, the "wee dance company" … The performed jokes form the frame for three beautifully flowing duets. Then, once again, Dream a Little Dream of Me rings out. Don't mind if I do".
original article
Berliner Morgenpost, Mittwoch, 14. Juni 2000 / Volkmar Draeger
"...It all develops effortlessly and logically, with dynamic, whirling and twisting dancing and with a lot of meaning between the lines, in tight body contact and a packed sequence of sketchy short scenes, and ends, endearingly defiant, in truce."
Reviews from the Edinburgh Fringe Festival
of "Drop" and "Concert" (excerpts out of "plan b"), of "Let's Sleep on it " and of "Blocked":
The List, 23.08.2001 / Ruth Hedges
"Defying all labels and packaging, the wee dance company are out to confound and intrigue … The mood oscillates violently between conflict and resolution, so that jerky limbs transform suddenly into unions of the body and rhythm; where legs weave in and out, and a back arches like a wave. Although largely physical in content, the pieces demand a high degree of cerebral engagement – stretching sometimes floundering, imaginative powers … A brave and challenging collaboration. Oh, and they sing madrigals too."
The Herald, 20.08.2001 / Mary Brennan
"… An utterly engaging trio … They have a sense of humour that darts in and out of their choreography, even when the subject matter has serious undertones … an enjoyable, attractive programme in which technical finesse, charm and energy come together well. and their singing really is a bonus and delight. "
The Scotsman, 21.08.2001 / Chloe Veltman
"The wee dance company, a trio of sublime movers … some beautiful moments of contact work … the vitality and humour of the performance captures something of the chaos and laughter of life."
Box (short piece - based on an excerpt from "the butterfly defect")
SR2 KulturRadio Online, 29.09.08 / Anke Schaefer (to "box" in "The winners are..." performed by the Ballet of the Saarbrücken State Theatre)
"...Explosive. A man dances slowly, almost tenderly with two large boxes made of brown packaging paper, handling them gallantly and elegantly...
And then: a sudden, unexpected change of music. Enter: a woman. And everything changes.
All of a sudden the rhythm is rapid, and life is danced full of fun and surprise."
original article
"...As in Dan Pelleg & Marko E. Weigert's piece, the choreographies take you by surprise with abrupt changes of mood within one piece.
At first lonesome and subdued, Pascal Séraline prowls in "Box" around two man-high boxes. But when Yamila Khodr appears from behind them
as if out of thin air, the two begin a marvelously jolly over-and-under game of catch and hide-and-go-seek
that with it's sportive leaps and wit just wins you over.
original article
Die Deutsche Bühne, Jan. 2007 / Frank Wiegand (to "box" at Lucky Trimmer on tour to Freiburg & Heidelberg)
"At a distance from the fashionable, the wee dance company has for years been developing its discrete and independent aesthetics…"
Braunschweiger Zeitung, 07.06.06 / Andreas Berger (to "box" at the 20th International Competition for Choreographers at the Hannover Opera House, "OsterTanzTage", 15th and 16th April 2006)
"The choice for the audience's prize was understandable:
captivated by Marko E. Weigert and Dan Pelleg's fantasy and rhythmic precision in a playful duo … "
original article
Berliner Zeitung, 27.07.02 / Michaela Schlagenwerth (to "box" in the fifth "Lucky Trimmer" 21.-22.05.05)
"...There are polished, virtuoso choreographies, like that of Dan Pelleg and Marko E. Weigert… who present scenes that we actually already know with so much verve and freshness, that the audience can't contain it's enthusiasm..."
original article
The Jerusalem Post, 30.03.11 / Ora Brafman
"Among the evening’s highlights... the spectacularly smart male duet with oversize coffin-like cardboard boxes."
read the entire article (in English)
Happily Ever After
Dresdner Neueste Nachrichten, 21.+22.04.2012: "Gala with a Crown of Thorns" / Gabriele Gorgas
"… And there is this wonderful "Hallelujah" duet, inspired by Jeff Buckley, created and performed by Nora Hageneier and Dan Pelleg (Dance Company of the GHT / wee dance). A dual balancing in an unusual movement language, free of effects and affectations. Finally he "stands" on his head and she beside him on both feet. With the eternally human conclusion: "And they lived happily ever after."
original article
Reutlinger General-Anzeiger, 07.02.2011: "Love, wit and rituals" / Sonja Lenz
"... an evening full of poetry and passion ... the dancers enwinding in intricate lifts and rolls, melting in an expression of organic
energy flow. Movingly, downright bewitchingly, they achieved this in the duet »happily ever after«: Dan Pelleg and Nora Hageneier
demonstrated in floating, elegant forms, how the entanglements of love and the abandon in it can lead to a state of feyness."
read more /
original article
Südwest Presse, 08.02.2011: "Tonne bietet einen Abend wie Adrenalin" / Jürgen Spiess
"...wee dance company's dancers Dan Pelleg und Nora Hageneier's following duo "happily ever after" was impressive too.
It focuses on a closeness savoured in slow motion. Acrobatically, the two dancers enwind, merging into one unit
of movement, floating in abandon. At times gravity seems virtually repealed."
original article
The Jerusalem Post, 30.03.11 / Ora Brafman
"...Among the evening’s highlights were most of the duets, particularly the moving slowmotion duet set to Leonard Cohen’s
“Hallelujah,” with unusual horizontal lifts by partners of both genders"
read the entire article (in English)
Grasshopper
Südwest Presse, 08.02.2011: "Tonne Theatre offers an Evening like Adrenalin" / Jürgen Spiess
"...The "wee dance company" from Berlin opens the round with "Grasshopper", a curiosities cabinet of human conditions. The four figures
in suites... express a longing to experience the world in a better state...
The movements seem, despite their dynamic, to be alienated, as if through a filter. One seems almost to see,
simultaneously, both stillness and movement, virtuality und reality, constantly contrasting each other."
original article
Reutlinger General-Anzeiger, 07.02.2011: "Love, wit and rituals" / Sonja Lenz
"... The »wee dance company«'s two other performances dealt, with charm and wit, with different instances of the human condition...
Their movements, at times dreamy, at times robotically hectic or weary and
crookedly scuttling, are retrospectively, through a final video image, interpretable as a picture suite of German workaday life...
the idyllic nature scene is revealed to be a narrow median strip on a four track highway."
read more /
original article
Schwäbisches Tagblatt, 08.02.2011: "Eventful plate, crafty meal" / Alexander Wiemer
"...The reference to René Magritte matched the surreal tenor of this year's programme. Four dancers mixed
unison breakdance quotes with keen acrobatic soli or enlacements, repeatedly freezing in embryonic thinker poses."
original article
Das Buch der Fragen
by Kai Grehn, a collaboration between THEATER fleur du mal & wee dance company
Berliner Zeitung, Juli 2011
"...Dance miniatures, developed by the wee dance company for this project, in turn allow silence, one of the central concepts in the "Book of Questions," to become sensual and at the same time create space and breathing space to process what is heard."
more
Press announcements
of "Äug":
Der Tagesspiegel, 7.8.2000 / Der Tagestip &
Der Tagesspiegel, 4.8.2000 / BERLIN'S BEST
...with vigorous acrobatics and light wit...
see original
Berliner Zeitung, 03.08.2000,
Choreographer-Collective, Impertinence and Charm: The wee dance company presents its new production "Äug" in the Sophiensæle / Michaela Schlagenwerth "… In September 1999 they had their first guest performance with a production of their own and were praised as
"a wonderfully well-teamed trio with audacity, charm and a talent for acting". Since then the three are not only fondly seen guests at the most diverse Berlin stages. Momentarily they're "artist-in-residence" scholarship-holders at the Podewil Theatre …"
Berlin Ticket, 31/2000,
Eye-Star-Gazer, See For Yourself: "Äug" Ogles the Rituals of Seeing / C. W. "The wee dance company, which promptly with its inception last year in Pfefferberg danced itself with acrobatic potency and subversive wit into nobler off-scene regions, is driving in its new production towards the rituals of mutual ogling… "
Tip, 16/2000
"Those who can't wait for the International Dance Festival Berlin to begin, may still their acute dance-theatre withdrawal symptoms in a most agreeable manner in the Sophiensæle: the wee dance company presents their new piece "Äug"…"
Press announcements
of Jaffa - Berlin Short Transit:
Berliner Morgenpost, 15.04.2004
"...They want to bring their topics to the point in a similarly concentrated way as the Japanese poem form of "Haiku" is said to do... In addition to members of the two companies that initiated the project "Jaffa", Tomi Paasonen, co-founder of the collective KUNST-STOFF in San Francisco, and the Berlin-based Gundula Peuthert were invited... The connecting element of the individual contributions is the shortest form of a trip with the Berlin public transportation system BVG: the short route, ten minutes of time between six bus stops. It serves here as a symbol for a walk across the bridge between two cultures."
read original
Press announcements
of There's Time:
Taz Berlin, 26.08.2005: "We all hang on the great pendulum: wee dance company's 'There's Time' " / Katrin Bettina Müller
"The sand runs through the big hourglass for exactly one hour… How is time made perceptible, what changes its flow… this time, too, we can expect [the wee dance company] to come up with astounding and perspicuous scenes concerning time and its fleetingness, which belong to the most essential elements of dance."
original article