«Miniaturen»
"... Gynophobics should duck out of the way, because Editta BraunÕs Miniaturen will make your nightmares come true. She unfairly attacks from all sides in an ironic, energetic, explosive mixture of body comedy and erotic drama. With the support of gripping live music by Thierry Zaboitzeff and his band, nine women and 12 wintercoats go about dissecting different emotional states, cool, hard, beautiful, lusting. The dancers kick it off humorously, arguing, fist fighting, bumping into each other, and showing off their beauty with really no basis for that in reality. ... The images are rich with associations, the atmosphere gradually becoming more authentic, dangerous but never serius. As dancing devils they parade in clouds of sulphure, as model Mafia on high heels bury an ugly duckling. A graveyeard has never been so blasphemically tread upon, and no number of coats really hide the physical energy underneath them. These women are frighteningly comfortable with being so sensual."
Katja Werner in "Dance Europe", London
«India»
A crash combination: For a production that is only three weeks in the making, 'India - a Crash Test'
was higly impressive ... stark images off the Indian streets ... male dominance and consequent suppression of women ...
totally devoid of gestures and expressions ... emotional intensity and unerring focus on human relationships ... a show
that definitely promises to be very different.
And so are the dancers.
Suhama Nagarkar in The Times of India, Bangalore
«Heartbeat - concerto for dance & music, op. 1»
The choreographer Editta Braun, usually so spritely, exhibits a totally new facet of herself. She has joined together with the Art Zoyd composer Thierry Zaboitzeff and Carlotta Ikedas director St?phane V?rit? (Paris). Verite works with great precision, focussing in moving, uncanny, scant pictures on a woman who expresses herself first with minimal movements and then with more emphatic, wave-like cascades of motion. Thierry Zaboitzeff creates music with surrealistic motifs, breathtaking, like distant old myths: with electric guitar, electric cello and a deep, archaic-sounding voice.
Andrea Amort in Kurier, Vienna
«Titiania. Suchbild in Bewegung zu Sisi, Kaiserin von Österreich, Königin von Ungarn»
Braun and Guillaume go beyond the borders of dance in the direction of elementary forms of movement and bring it back into the realm of of expressive dance, which was at the beginning of all dance theater. Lazlo Molnar in Salzburger Nachrichten
The approach to Titania, as Sisi called herself, is touchingly emotional. From the flowing, blissful waltz to the neurotic stripping before the mirror, into which the queen refused to look too closely into. Ilse Retzek in Oberösterreichische Nachrichten, Linz
An intensive hour characterized by deep feminimity: (Not only) Sisi's inner conflict between compulsion, self-doubt and self-assertion is widespread.
Frieda Stank in Neue Kronenzeitung, Wien
«Voyage à Napoli»
A loving and powerful potpourri of the physical with wonderful, panoptical moments." Ilse Retzek in Oberösterreichische Nachrichten, Linz
«La vie, c’est contagieux»
I t takes an enormous amount of courage and also innocence to engage a deity like Jean B. to dance.
And she's made a wonderful success, the young choreographer E.B., sure of herself...she is full of fire, in flames,
embraces life with both arms...a subtle, deeply-felt work which honors both the interpretation and the
choreographer. "
J.M. Gourreau in Les Saisons de La Danse , Paris
Le credo de Jean Babilée ... Editta Braun ... practices a form of expressionalistic dance which is unique in it's power
and softness, a passionate dance ... "
Gilberte Cournand in Les Saisons de la Danse, Paris
A declaration of love, romantic, emotional, full of honest openess. Simply wonderful.
Ilse Retzek in Oberösterreichische Nachrichten, Linz
Monsieur Jean Babilée! ... How he sits on the sofa speaks volumes about theater history...About getting old and older, about the relationship between man and woman. The choreographer from Salzburg has slaved for five creating this moving, one-hour piece...With her athletically-powerful and explosive style of dance she appears so immediate. Respectfully interwoven: Babilee the great, in repose.
Andrea Amort in Kurier, Wien
«Collision»
... Object woman, child-woman, mother woman, femme fatale, object man, child-man...etc. "Collision" is the speechless meeting of two people of our times, in a bizarre world of potted plants which surround the stage. He, pale, expressionless face, mostly with an inward stare, reminiscient of a Pierrot. She, cigarette constantly dangling from her lips, high heels, blue minidress and screaming red hair reminds one more of a Yvonne Printemps, sketched by Toulouse-Lautrec. They dance fantastically.... wonderfully danced, full of new ideas of movement and expression
Gilles Kraemer in Progrès Dimanche du Caire, Egypt
"Although quite intense, Collision is still extremely emotional. "Tenderness plays the greatest role
in the love between two people" quotes Marguerite Duras. And it is a deep tenderness which holds
these two, so often far apart, together. Pictures of unbelieveable power in which longing mixes with
fear, concentrated in a strength only possible through gesture, the honesty of feeling lets the audience
become voyeurs.
J.M. Gourreau in Les Saisons de La Danse , Paris
«Materialien für Tanz & Musik»
"The really worthy choreographers are not always to be found in the big theaters. E.B. of Salzburg, little known in France, has just proved this claim, and brilliantly... The geniality of the choreographer lies in her ability to precisely dose the relationship between music and dance and to surround herself with a pianist and a drummer who is, frankly, demonic... the second strong point of the piece: the intelligent composition. Third positive element of the work; its modernity. E.B. has the devil in her and has that certain amount of impertinence which arouses sympathy. Her dance is based upon longing, upon liveliness and energy as well as drollery and wit. She is quick-witted without breaking into laughter. She incorporates the esprit of youth, spontaneity and joy in communication without taking herself too seriously.
Jean-Marie Gourreau in Les saisons de la danse , Paris
Where feare is walking on six legs
"Closely, arrogating , yes, it is. But althoug fear is the topic, it is everything else than a depressing evening. There are scenes, in which three performers bash themselves bluntly to the walls with adventurous movements. But nevertheless the handwriting of this evening is all in all loosely, and the self mockery as well a s a lightly poetry are not missed out. Fear: often it is something quintessentially unreal. Or something, which is produced by ones own, intentional
or unintentional, an „extra“ or something in answer to airy foreshadows. One can enjoy truly about the thrill, which is emerging from different movement languages and different approaches to the topic. And about the way all this is brought into one another.“
Reinhard Kriechbaum in Drehpunkt Kultur, 24. September 2009
«Abseits»
Status display of fear
„Editta Braun has commentend about an attitude of life, which is consise and mellow, brutal and bluntly comical the same time. The closeness and directness, embodied through the dancers' strong performance, has immediate power. Seen this way „Off-side“ is right in the middle – and therefore a witty and sensual birhtday present (for 20 years editta braun company), which is showing onwards."
Karl Harb in Salzburger Nachrichten, 25. September 2009
Danced anxiety states
„Two man bash their female partner to the wall. Right after they „strip“ in a TV show, in which fear is the discussed topic. Later on one must jump on the others head – it is about torture and repression. Then the bodies seem to be into each other. People come closer, because bombs are falling. Tomaz Simatovic, Anna Maria Müller and Juan Dante Murillo Bobadilla are the performers of this evening. All the three of them play, dance, talk, fight and tremble on a high artistical as well as athletic level.
Editta Braun`s piece is no personal version of excited dislike. It is a group work, a collective conception of threat. Each of the three dancers and further choreographers, who are associated with the company, played „Children`s whisper“ and connected different asprects of fear. It speaks for the familiarity and closeness of the editta braun company, that individual ideas come together to a hommogenous piece in the end. A mischievous wink builds the bridge between them. Humour crosses most of the pieces of this choreographer, who is one of the most international renowned performers of Austria.“
Christoph Lindenbauer für APA (Austrian Press Agency), 25. September 2009
«Coppercity 1001»
REACTIONS on «COPPERCITY 1001» in Jordan:
"Coppercity 1001 talks in a extraordinary way about the theme of violence, an important piece for the arabic world.”
Prof. Akeel M. Yousif, Theaterdepartment College of Fine Arts, Baghdad
"An excellent work about poetry and violence, tenderness and rawness. We nee these kind of pieces in the arabic world.”
Jawad Al Assadi, director and writer, Babeltheater Beyrut
«Matches of Time»
"With a lot of houmor the four people of the strong, expressive, and theatrical talented ensemble - supported by students from the Bruckner University Linz - interact on stage. Composer Thierry Zaboitzeff created a dense sound envrionment, inspired by the monotonous ticking of a clock. Overall a clear and dense narration about life that is passing way too fast. And - a beautiful metaphor in this production - the age (with mask and trembling body) is always and usually faster present than we (want to) believ".
Silvia Nagl in Oberösterreichische Nachrichten, März 2007
„Im Spannungsfeld zwischen Gehetztsein und Verzögerung, fremdbestimmter und eigener Gestaltung des persönlichen “Zeitguthabens” agiert das Ensemble (...) mit großer tänzerischer Präzision zur Musik von Thierry Zaboitzeff, die das Thema nie vordergründig austariert.eas Thema e das Thema nier
Neues Volksblatt, März 2007
„An overall very refreshing position of the genre (dance) that is not only using visual impressions but generates own associations in the public. (...) The performers show and amazing precision in their dance, supported by the music of Thierry Zaboitzeff, they never stay on the surface of the topic...“
Neues Volksblatt
„A successful evening with the editta braun company!“ The editta braun company, supported by an ensemble of students of the Bruckner University, presents itself with intersting, atmospheric pictures. (...) Editta Braun makes a collage of colorful scenes and impulsiv dance. (...)
Dancetheater is often produced for itself and doesnt care about topics that are worth beeing put on stage. Editta Braun and Rebecca Murgi did not hestitate to give their dance a topic“
Kronen Zeitung
«Luvos, vol. 2»
"Austria's currently most interesting choreographer lures us with "Luvos. Vol 2" into a truly "brave new world". As if driven by invisible waves, five naked dancers lie and roll upon glowing red sand, new beings growing out of their legs. (Absolutely outstanding in technique and expression: Barbara Motschiunik, Lisa Hinterreithner, Ulrike Hager, Sabile Rositi and Mata Sakka.) Pale, crab-like creatures strive sideways through the room, find one another, mate and bear new worms from which new creatures emerge...a vision of a beautiful and erotic, yet dangerous, artificial world; a sinister (gen) manipulating game made even more compelling by the beguiling music (Thierry Zaboitzeff) and ingenius lighting (Thomas Hinterberger).
Andrea Hein in Neue Kronenzeitung, Klagenfurt, Juli 2001
10 years editta braun company
" The Liontamer ...This is one of Braun's strengths, to move on, not to stand still. This has often taken her to her limits..."I'm fascinated by the physical, by power, by the intense live experience, also by beauty. When the interpreter is good, dance can be indescribably magical, an ethereal power, many-sided and manifold. Dance is, in short, a means to reach out to people and touch them." This shows in each of her works like the piece of wisdom given to us by Antoine de Saint-Exup?ry: "One sees only well through the heart." This is the only real truth."
Ilse Retzek in "tanzaffiche", Juni 2000
"She is the grande dame of contemporary dance theater 'made in Salzburg'. Forty-two year old dancer and choreographer Editta Braun has for the past ten years awed and touched us with her work. Curious peeks behind the facades, the ability to lure the audience into a poetic parallel universe, unbounding fantasy and a dash of wry social criticism here and there... Editta Braun is a captivating, mature artistic personality who allows us with great sensitivity glimpses of intimate moments, and who understands how to turn every short scene into a work of art..."
Heidrun Hofstetter in "tanzaffiche", August/September 2000
«Nebensonnen»
"They are protective, strict, tender, understanding, sometimes the end of one's own world: mothers, the origin of life, focal point of love and hate. This massed universe at the beginning of a one-way street accompanies us our whole life long. Choreographer Editta Braun's title: 'secondary suns'. The premier of 'Nebensonnen' in Salzburg's Stadtkino was greeted by enthusiastic applause. Rightly so, for Braun has achieved a profound declaration of love. Sensitive, touching, attentive of every detail which can make hell out of daughters' lives - if they are too old to withstand heaven. Braun herself appears first on stage. Her long, flowing dress hides a naked bundle of humanity to which she gives birth with powerful, swaying movements. A moving scene, due not only to her wonderful gestures, but also to Thierry Zaboitzeff's powerful music, this time predominantly piano...an especially wonderful evening."
Ilse Retzek in "Oberösterreichische Nachrichten", Linz 2000
«schluss mit kunst»
No rational, intellectual analysis can portray the real suffering, the insanity experienced daily, than the writhing, springing, communicating, fighting bodies. (...) Every moment of this evening showed me how much nearer art can bring me to the world’s injustice and absurdness than a mere message can. Tobias Fernbacher
I’m glad to see this vision of theater, although the damned of this earth won’t rise up until they have nothing left to eat or are being choked to death, in our feel-good-society an uprising appears to be an illusion, yet still we should keep it in mind. Christoph Luber
I greatly respect and admire your courage to say things straight forwardly, and the way you can balance between making the audience think and feel about your theme. It has been a long time I’ve left the theatre feeling I’ve receiving something, and that happened with your piece, so, thank you :) Dorota Lecka
we have certainly not had enough of art. If art makes a statement and artists take a position on their
powerlessness and desperation as well as their dreams and longings, then this is exactly the right way to lead us
to new ideas, which we all badly need. Bernhard Jenny
last update
29.01.2012
