Henrietta Horn








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Photo: Jörg Landsberg





Premiere 09. Februar 2019 
February 13th & February 17th: 3pm
February 28th, March 7th, March 12th, March 30th , June 18th : 7.30pm
Theater Osnabrück
Domhof 10/11
49074 Osnabrück

In 2019 the Bauhaus celebrates its 100th anniversary and is the occasion for the three-part dance evening BAUHAUS | BOLERO at the Stadttheater Osnabrück. It opens with the reconstruction of Mary Wigman's group work DIE FEIER (1927/1928). In the mid-1920s, Wigman (1886-1973) not only dealt with the constructivist ideals of Bauhaus artist Wassily Kandinsky, but also with the theatrical experiments of the Bauhaus stage. Looking back, she wrote about DIE FEIER: "The absolute harmony of color, form, and line, of body and spatial rhythm, has hardly been as successful as in this work. As with Wigman's works "Le Sacre du Printemps" (1957 - 2013) and "Danse Macabre" (1921/26 -2017), Henrietta Horn and Susan Barnett are responsible for the recreation.


DIE FEIER (1927/28)

Choreography Mary Wigman

Stage/Costumes Mary Wigman, Elis Griebel

Reconstruction Henrietta Horn (responsible), Susan Barnett

Music Martin Räpple, Wladimir Krasmann after musical themes by Will Götze

Reconstruction of the costumes Margrit Flagner, Susan Barnett

Dance: Dance Company Osnabrück



Hartmut Regitz, Magazine tanz, March 2019


Mary Wigman calls the four sections into which the first movement of her dance symphony is divided "monotony". But there can be no talk of monotony at the "celebration". The group performance alone at the very beginning takes one's breath away. It could be a frieze of human bodies that gradually pushes itself onto the stage and, so to speak, gives the part called "temple" its frame. Choreographed over a wide area, it immediately makes you think of "L'Après -midi d'un faune" by Vaslav Nijinsky, of which Mary Wigman could at least have heard in 1927/28. And yet the "absolute harmony of colour, form and line, body and spatial rhythm", as she says retrospectively about "The Celebration" itself, is quite, quite different: always grounded and even in the "rotating monotony" related to the ground, but never playfully free and erotic, but always sublime and subject to a lawful formation. Together with Susan Barnett, Henrietta Horn made the difficult attempt to make Mary Wigman's "Celebration" visible again - based on photographs, descriptions and drawings that Walter Eberhard Loch made in the rehearsals. There is no notation as in the case of "Totentanz I"; even less material that could have justified a reasonably authentic "recreation" of the third part. The two have renounced them. Based on their experiences in rehearsing the "Spring Victim" and "Dance of Death I and II", they were able to empathize with Mary Wigman's way of moving in the first two movements in such a way that it did not appear to be a pure projection of their own fantasy. On the contrary, "The Temple" and "In the Sign of Darkness" always reveal the dancer's peculiarity and her pioneering style. Nothing seems antiquated here. Not the "turning monotony" in which Cristina Commisso flares up her skirt as if she were dancing on glowing coals. Especially not the second movement, when Neven Del Canto "under the sign of darkness" finally makes Marine Sanchez Edgasse disappear completely. This may be thought of by Wigman as an allegory. Nowadays one could also interpret the power play between solo and group politically. The Dance Company Theater Osnabrück, in any case, places itself entirely in the service of Mary Wigman and yet is always with itself.


Premiere at Theater Osnabrück New dance evening "Bauhaus/Bolero" fascinated

By Christine Adam, 09.02.2019 Neue Osnabrücker Zeitung


A sophisticated treat for dance and Bauhaus fans: On Saturday, the new three-part dance evening celebrated its premiere with a recreation of Mary Wigman's "Die Feier", Edward Clug's "Handman" and Mauro de Candias premiere of "Bolero" at the Theater Osnabrück. Third time Wigman. What a gain that the proven reconstruction team of Henrietta Horn and Susan Barnett dared for the third time to perform an undelivered choreography by Mary Wigman for the Theater Osnabrück. Although the Wigman specialists found so little material this time, after "Le Sacre du Printemps" and the two death dances, that they prefer to call Wigman's "The Celebration" of 1927/28 a recreation. The Osnabrück Dance Company walks solemnly through the stage like a living painting showing players with percussion instruments. Splendid robes with long, swinging skirts underline the ceremonial of this dancer chain. Arms and legs reach very slowly and like groping into the room and coagulate into ancient, ritualistic poses. Counter-rotating circles and groups of dancers reacting to two soloists like choirs form the space, both typical Wigman elements. The young dancers make the two parts of the "celebration" a feast for the eyes and reap intermediate applause with the fantastic turning monotony of Cristina Commisso, who, despite all the turning, succeeds in shaping the space above him with sophisticated arm gestures. Live percussion by the dancers, specially composed by Martin Räpple in collaboration with Henrietta Horn and recognizable tempo increases to the point of deadly horror give a glimpse of the content of the evening.






Photo: Wolfgang Kleber





March 15th, 2019
March 16th, 2019
3:e vaningen- Dance & Artspace
Sockerbruket 9
41451 Göteborg / Schweden
In March 2015 the choreographer Henrietta Horn and the musician Matthias Geuting met for the first time with a group of dancers. Their stated intention: free-form improvisation without a specific outcome or goal. The only motivation was curiosity about what would develop in these meetings and how the participants would interact with each other. The irregular meetings developed into a permanent group, which soon asked itself: what would happen if we tried this in front of and with an audience? In November 2015, a first experiment took place at the Folkwang University of the Arts. In front of an interested audience, the artists asked themselves questions about formulas, perspectives, what is allowed and what is not, freedom and dramaturgical imbalance. Since 2015, numerous other events with a constantly changing cast have taken place in a wide variety of venues, including concert halls, museums and churches.
These performances call for the ability and willingness of performers and audience alike to change perspectives at lightning speed, because the artistic articulations of music and dance are literally invented in the moment, and then developed and explored for their potential. Such a change of perspective creates relationships and non-relationships between sound, movement, space and audience, and carries the risk and joy of unpredictability. Nobody can anticipate whether dramaturgical arcs will emerge and grow, whether they will grow silent or come to an abrupt end. But isn't the question of "success" itself again a matter of perspective?





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Photo: Rolf K. Wegst


March 22nd, 2019: 8pm | taT-studiobühne
April 14th,  2019: 8pm | taT-studiobühne
Stadttheater Gießen
Südanlage 1
35390 Gießen

An empty stage, ten dancers, eight chairs and twenty rattles - that's all it takes in AUFTAUCHER to challenge the imagination of the audience. Within a few minutes, the interplay of movement, light and rhythm creates an atmospheric pull that captivates everyone. It is a firework of movements and expressiveness. Choreographer Henrietta Horn translates emotional processes into physical images. Variations of human togetherness can be found on stage: the courtship of the sexes, competition, rejection, jealousy, but also humour, shame, sensuality and joie de vivre. In its present form, the piece was premiered by the Folkwang Tanzstudio in Jakarta in 2001 and shown internationally. After rehearsals in Essen (2013) and Braunschweig (2016) now with the Tanzcompagnie Gießen: almost a 'classic of contemporary dance'.





May 19th, 2019: 8pm

May 20th, 2019: 8pm

Theater Marl

Am Theater 1

45768 Marl



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Photo: Reinhard Hubert





Premiere 26.10. 2018, 6pm
Folkwang Universität der Künste / Neue Aula 
Tickets: +49 (0) 201_4903-231 / This email address is being protected from spambots. You need JavaScript enabled to view it.

Thomas Neuhaus and Henrietta Horn in collaboration with students of the Folkwang University of the Arts


"Like a beast, not so much a monster as a creature that does not conform to any norm, this piece also questions the norms of the interaction of the disciplines with relish. "Untier" continues approaches of earlier works, such as "Kaiserkleider" and "Rotlicht" by Henrietta Horn, or works by the Theater der Klaenge (among others Modul|a|to|r, Hoereographien, Suite intermediale, Vanitas) with Thomas Neuhaus as composer, programmer and co-developer of the interaction concept.

Concept and production: Henrietta Horn and Thomas Neuhaus

Choreography: Henrietta Horn
Composition: Thomas Neuhaus
Light- Videodesign: Reinhard Hubert
Costume: Margit Koch
Dance: Sara Koluchová, Yen Lee, Pierandrea Rosato, Etienne Sarti, Ivan Strelkin
Music: double bass: Endika Rodriguez; flute: Xueqing Wang; live electronics: Thomas Neuhaus

The music of "Untier" was commissioned by the Philharmonie Essen and supported by the Ministry of Culture and Science of North Rhine-Westphalia. The event is sponsored by the Kunststiftung NRW. The Philharmonie Essen is organizing NOW! together with the Folkwang University of the Arts, the Stiftung Zollverein, the Landesmusikrat NRW and PACT Zollverein.