„Feminism, of course, has always been an exercise in science fiction.“ — Laurie Penny
Florentina Holzinger has enriched the international performance scene with dizzying acrobatics, muscular women’s bodies and martial-arts fight scenes since 2011 – a generous helping of pop-cultural references and a penchant for trash included. TANZ completes her trilogy – Recovery and Apollon were the first two parts – about the body as a spectacle, and its disciplining. A ballet class under the direction of Beatrice Schönherr, the first ballerina to dance Le Sacre de Printemps naked (John Neumeier’s Le Sacre, 1972), provides the framework for TANZ. The performers undergo rigorous training in “action ballet”, the so-called “sylphic studies”. In joint rituals, they learn to master their bodies and minds, and they acquire supernatural powers, such as flying. A quest for perfection in an ephemeral world, during which the gross is transformed into the sublime. In an operatic setting, brutal parodies of sensationalist images emerge, as seen in ballet, comedy and pornography. The gaze regime finds reflection in the character of a porn producer who documents the performance. With a cast of women between the ages of twenty and eighty, all of whom have different backgrounds in dance, TANZ raises the question of the legacy of dance. How can the cult of beauty inherent in this tradition be reconciled?
studied choreography at the School for New Dance Development (SNDO) in Amsterdam. Kein Applaus für Scheiße (2011), the first joint production of Florentina Holzinger and Vincent Riebeek, earned them a reputation as “most provocative new choreographers” straight away.
In addition to further collaborations with Riebeek (Spirit, Wellness and, most recently, Schönheitsabend), Holzinger presented the solo Recovery in 2015, in which she processed the trauma of a serious accident she had during a performance. This was followed by Apollon, a piece in which Holzinger turned George Balanchine’s neoclassical ballet Apollon Musagète into a circus freak show with muses performing bizarre tricks rather than dancing attendance on the god.