stripe decor


D a n c e  P r o j e c t s
Footnotes (2012)  

Charlotte Bell, dance

Nicolle Klinkeberg, choreography and dance






A duet for a dancer and a thought, performed in the italian dancing style of the late 16th century. It is a style one can only reconstruct from written sources. This piece is based on these sources, reads between the lines though, and becomes in this way one of their footnotes.


(In) Pieces (2011)  

Musical ensemble, directed by Michael Eberth

Charlotte Bell, dance

Nicolle Klinkeberg, choreography and dance


Baroque music and baroque dance around 'The Fairy Queen' by Henry Purcell.


Still Life in Motion (2007)  

Ensemble Sette e mozioni:

Beate Knobloch, recorder

Verena Kronseder, viola da gamba

Andrea Baur, lute

Ralf Waldner, harpsichord

Wim Zuiderwijk, percussion

Wijnand Karel, dance

Nicolle Klinkeberg, choreography and dance



A museum. Innumerable paintings, all in frames, are waiting for viewers, who see in them an idealized picture, a realistic depiction of a moment or, perhaps, something entirely different. The museum is a place where pictures become living thoughts. Always in frames.

Historical dance. Fixed in words on paper or in pictures on canvas. Movements frozen in time. They are also waiting: for readers and viewers. Movements that become living thoughts. Always between book covers or in frames.

The stage. A place where the present and past meet: what would happen if these lifeless pictures actually began to move? If the movements were unleashed from their frames and borders? If our eyes looked on today, not necessarily to reconstruct, but to discover how movements develop unrestrained by the conventions of our times, the constraints of costumes, the immobility of ink and paint? Historical dance as the beginning of a creative search.

The musicians are part of the whole, they belong to the overall picture. Music from the late 16th and early 17th centuries is the basis for a combination of Italian Renaissance dance and Modern Dance. The décor and costumes reflect the development of the movement: a game with frames, restrictions and freedom.


East of the Sun, West of the Moon (2004)  

Part of the 1st Rothenfels Dance Symposium‚

'The Dawn of Baroque. Dance in the 17th Century'


Constance Allanic, harp

Sepha Wouda, mezzo-soprano

Wim Zuiderwijk, percussion

Wijnand Karel, dance

Nicolle Klinkeberg, choreography and dance



Two dancers spend an entire day together; 24 hours are depicted in 30 minutes. The dance does not tell a story - it is a means of expression and a game. The course of the day, reflected in the costumes and the atmosphere of the dances, is the central theme.

It is a dance performance that combines two dancing traditions: courtly dancing around 1600 and folk dancing, which has been handed down from generation to generation over many centuries. The choreography of the dances in the courtly style (primarily Italian) is not an exact reconstruction from dance books of the time but is based on them, using the steps and movements as described and depicted. The folk dance elements are drawn from Italian and Macedonian dances.





Photograph Footnotes: Bernd Hentschel

Photograph (In) Pieces: Friedrich Muentjes

Photographs Still Life in Motion: Günther Kronseder

Photographs East of the Sun, West of the Moon: Basile Maree