Skip to content

Press quotes


TAZ Bremen | Beate Ramm

A total work of art that gives new meaning to things and people.


Le Soir | Jean-Marie Wyneants

You have to see it to believe it […] Britta Lieberknecht, dancer, and Reinhard Gerum, actor, have created a spectacle that is hair-raising, violent and funny, not without recalling some of Zulawski’s scenes […] with electrifying images, they are so incredibly tough that Fatal Attraction looks like a kindergarten story in comparison.

Fluss TV

Kölner Stadt-Anzeiger | Birgit Kirchner

Lieberknecht and Gerum propagate the integration of the everyday into their art […] The extreme freedom inherent in dance is demonstrated with fascinating strength in this performance.


Kölnische Rundschau | Thomas Linden

For a long time, there was no dance production in Cologne’s independent scene that involved so much dancing. It is fascinating […] Vibes is full of surprises and captivates its audience with crackling encounters in which fresh dance figures can be seen. A choreography that defies convention, is well balanced and always remains experimental.

Sonate für Violine Solo / Sonate für Viola Solo …an den Gesang eines Engels | Christina-Maria Purkert

It would be great if these purist, focussed and touching solos could get a much larger audience.

Space for your imagination

Kölnische Rundschau | Thomas Linden

Neus Barcons Roca delivers a great start with a choreography in which every movement reacts to Keith Jarrett’s Paris Concert. Sound is translated into movement, a marvellous change of media in which the abstraction of the sounds is not given away to patterns of meaning.

Schimmerndes Blau

Kölner Stadtanzeiger | Birgit Eckes

The movements paint the music, sometimes pastose with a thick brush, sometimes with the finest stroke of the pen […] Even in the sober studio light, you fall under the spell of the two young women and their whirling lifts and pirouettes.

Die Kunst des staubsaugens

Kölnische Rundschau | Birgit Eckes

Even more unusual, however, is the combination of the loud household appliance with the well-tempered piano or the Partita number six in a dance performance. […] Every tiny chord, every pearl of the piano runs, every fading and falling silent can be read in the movements, and the handling of the profane device becomes an organic game – sometimes poetic, sometimes tantalisingly lascivious, then again comical in that somewhat unwieldy way that we know from Lieberknecht’s choreographies. How touching seriousness can develop from factual ridiculousness – this metamorphosis is unbeatable.


Kölnische Rundschau | Thomas Linden

Where wood splinters at first, delicate tones finally reign, delighting the audience in the Rheinhauhafen and whetting the appetite for more art from the current winner of the Cologne Dance Theatre Prize.

Berühren – Zerreißen

Theatre magazine akt.7 | Christina Maria-Purkert

Olaf Reinicke and I-Fen Lin subject their costumes to a tough material test playfully and with relish, with a fighting spirit, but without using any motifs from the well-known dance theatre battle of the sexes. Nothing can withstand the gripping choreography […] Whimsical and poetic images emerge when the chair-woman figure rises in slow motion or crawls as a quadruped with four wooden legs seemingly growing out of its back. This solo alone is worth a visit to the performance. It is the jewel of the evening. Which is not to say that the hour before wasn’t worth every minute. You leave the theatre touched, not torn.


Rheinische Post | Stephanie Becker

She rolls her eyes incredibly fast in different directions, making you dizzy […] In her piece, she presents an impressive study of sounds that penetrate every fibre of her body, making it vibrate and tremble.


Kölnische Rundschau | Thomas Linden

What Britta Lieberknecht and Paul Hubweber offer in their performance Ohrsichtig is more than an experience for the eyes and ears. The great fascination of this dialogue lies in the independence with which both artists act.

Köln Projekt

Dance critic Franz Anton Cramer, Berlin

No doubt: dance no longer needs to obey a narrative here.


Kölner Stadt- Anzeiger | Basil Nikitakis

When she dips her head into a bucket of liquid paint at the end, when her body becomes more and more coloured with every turn, when dark blue paint runs out of her mouth like blood at the end, then some of the rules have slipped: Civilisation and wilderness, body and colour, movement and standstill.

Drücken Sie den Posaunisten

Kölner Stadt- Anzeiger | Basil Nikitakis

Press the trombonist is, like Lieberknecht’s older productions, an attempt to create sparks from the encounter of different art forms. In her new piece, this means: light becomes movement, dance becomes bipolar rhythm in the on and off of light, music becomes the voice of the body, moaning, whispering, roaring.


Kölnische Rundschau | Christoph Zimmermann

The avant-garde aesthetic finds its most striking expression in an athletic, artistic solo by Britta Lieberknecht on a steep wall, where body language is directly translated into sound. The gestural ingenuity is striking.

Back To Top