Tanz, by Florentina Holzinger


Florentina Holzinger: TANZ, a sylphic reverie in stunts

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Tanz, Florentina Holzinger. Photo © Eva Würdinger
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Pitching witch against fairy, Florentina Holzinger’s TANZ bares the corporal discipline and punishment of romantic ballet through brutal parody and spectacular stunts

Technically, TANZ follows all the rules of the romantic ballet: there’s a wicked witch, flying fairies, magic spells and pantomime storytelling. But in Florentina Holzinger’s version, the sylphides are less ghostly princesses than flesh-eating zombies. Pissing in buckets and riding flying motorbikes, the cast of eight women, aged from 20 to 80, radically challenges classical dance’s fascist obsession with perfection and diaphanous beauty.

The first act focuses on training. Beatrice Cordua (the first ballerina to dance The Rite of Spring naked, in John Neumeier’s 1972 version) instructs her disciplined students on ‘how to govern their bodies’ while a live camera zooms in on their naked figures to give a pornographic perspective on their flexing muscles and stretching flesh. The teacher goes from passionate pedagogue to ecstatic cult leader, feverishly scrutinising the dancers’ bodies, fetishising pointed toes and pointy nipples in a scene that climaxes with a lined-up vagina inspection during which she drools over their exposed anatomy. The dancers then put on bloody pointe shoes and practise ‘how to be light’, until one of the sylphides is suspended by a hook in her ballet-bun, and pulled by her hair all the way to the ceiling.


The second act, following the romantic-era binary structure, veers towards the fantastic, taking us from the studio to a haunted forest. A choir of ghosts meets a big bad wolf, green lighting and copious amounts of fake blood. The live camera magnifies every gruesome detail: it fixates on Cordua’s bloody crotch while she births a rat out of her pussy; later, the camera chases her around, Blair Witch Project style. We reach peak chimerical when the performer Lucifire’s back is pierced with hooks and she’s hung by her skin, breathtakingly swinging on a rope with a broom between her legs, like a hardcore pin-up witch. Or a human piñata.

In TANZ, beauty and gore cohabit, successfully capturing the intensity of ballet as an art form while also radically questioning its legacy, and catapulting dance into an entirely new realm.

The bottom line: Who would have thought that ballet could still be this exciting?
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Tanzquartier Wien, Vienna, Austria.
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More info & touring:
08–09/11/19 De Singel, Antwerp, Belgium
14–15/11/19 Mousonturm, Frankfurt, Germany
13–14/12/19 Beurschouwburg Brussels, Belgium

Concept, performance, choreography: Florentina Holzinger / Performance by and with: Renée Copraij, Beatrice Cordua, Evelyn Frantti, Lucifire, Annina Machaz, Netti Nüganen, Suzn Pasyon, Laura Stokes, Veronica Thompson, Lydia Darling / Video design, live camera: Josefin Arnell / Sound design, live sound: Stefan Schneider / Light design, technical director: Anne Meeussen / Stage design: Nikola Knezevic / Stage assistant: Camilla Smolders / Technical assistant: Koen Vanneste / Dramaturgy: Renée Copraij, Sara Ostertag / Coaching: Ghani Minne, Dave Tusk / Music coach: Almut Lustig / Outside eye: Michele Rizzo, Fernando Belfiore / Theory, research: Anna Leon / Costume advisor, tailor: Mael Blau / Prosthetic, mask: Students of Theaterakademie August Everding (Munich), Marianne Meinl / Stunt support: Haeger Stunt & Wireworks / Stunt instructors: Stunt Cloud GmbH (Leo Plank, Phong Giang, Sandra Barger) / Management: Something Great (Berlin) & DANSCO (Amsterdam) / Coproducers: Spirit and Tanzquartier Wien, Spring Festival (Utrecht), Theatre Rotterdam, Künstlerhaus Mousonturm (Frankfurt), Arsenic (Lausanne), Münchner Kammerspiele, Take Me Somewhere Festival (Glasgow), Beursschouwburg (Brussels), deSingel (Antwerp), Sophiensaele (Berlin), Frascati Productions (Amsterdam), Theater im Pumpenhaus (Münster), asphalt Festival (Düsseldorf)

Theme: Exposures
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