© Dorothea Tuch

„The body and its scope change with age, but this change has always been taking place and didn’t start at the age of 35. I can be more precise today about what interests me, about the questions I have for myself, dance and the people I work with, and about what I think is important for me to learn and experience – mentally as well as physically. There is something there that no longer needs to be said or shown, and yet is an intrinsic part of every movement. Experience is inscribed and stored in the body. A type of essence that has emerged over the years now expresses itself with a different sense of urgency and enters into contact with dance, people and the public. I don’t see age as a limitation of the scope to express myself, but rather as an organic process that allows me to use this scope to focus more resolutely and express myself creatively.“
Brit Rodemund

Brit Rodemund, born in Berlin in 1971, was trained at the Staatliche Ballettschule Berlin from 1982 to 1990. She was a finalist at the Prix de Lausanne in 1989 and a year later won the Grand Prize in the National Ballet Competition in the GDR. From 1990 to 1995, she danced at the Deutsche Staatsoper Berlin, from 1991 as a soloist. She then went to Martin Puttke’s Aalto Ballett Essen where she won the Aalto Stage Prize for her portrayal of Tatjana in John Cranko’s Onegin. In 1998, she moved to Ballett Nürnberg under the direction of Daniela Kurz. She has been a freelancer since 2000 and works with various artists. In the critic’s poll for the journal tanz in 2011, she was voted Dancer of the Year for her performance in Helena Waldmann’s production revolver besorgen.

Since 1999, she has been teaching classical dance at various dance schools in Berlin, Stuttgart and Ottawa and has trained dance companies in St. Gallen and Braunschweig. From 2007 to 2010, she taught classical dance at the Ernst Busch Academy of Dramatic Art in Berlin. In 2014, she was ballet master for the Hessisches Staatsballett Wiesbaden/Darmstadt under the direction of Tim Plegge.

At theatres in Berlin, Essen and Nuremberg, she has danced in choreographies by Rudolf Nurejev, George Balanchine, Patrice Bart, Nacho Duato, Maurice Béjart, Maryse Delente, Ramon Oller, Birgit Scherzer, Mario Schröder, William Forsythe and Daniela Kurz, for example. She has worked as a freelancer with Marco Santi, Christian Spuck, Katja Wachter, Christoph Winkler, Silvana Schröder, Zufit Simon, Efrat Stempler, Nina Kurzeja, Tomi Paasonen, Dansity Amsterdam, MS Schrittmacher and Tim Plegge, among others.