P R E S S

Press Review

"The ensemble is in demand and belongs to the best in the world."
Tomasz Kurianowicz, Rbb-TV, 9 May 2020

FÄDEN

"an inspiring experience that lasts 80 minutes entirely without gloom, although the momentary impossibility of properly savoring moments and days is once again brought home to you with brute-glass clarity."
Vesna Mlakar, Münchner Abendzeitung, 28. November 2021

MAKING DANCES - DANCING REPLIES

"In this way, "Dancing Replies" opened up an exciting view of how dance can be read differently, how material is passed on, how meaning emerges and fades."
Katrin Bettina Müller, taz, 12 July 2021

WORKS IN SILENCE  

“Dance On offers a new look on the still fresh avant-garde of yesteryear”
Jacq Algra, Het Parool, 9. Juli 2021

"Works in Silence" has no music, but the rhythm of the audible steps. The dancers have to listen to each other so that everything works. The way the crossing and criss-crossing fills them with happiness is transmitted to the audience. Time flies."
Katrin Bettina Müller, taz, 12 July 2021

"Not only for the choreographer, but for dance and dance history in general, these precise, reduced works show above all what the movement aesthetic of postmodern dance can be at its best: namely, an almost magical suggestion."
Elisabeth Nehring, tanz, March 2021

"The recording is as pure as the pieces themselves and makes me incredibly curious to see them live. With their complex minimalism and their combination of formalism and vitality – exuberance, almost, while still maintaining a strong structure – they suit this company extremely well […] Their dancing is fantastic."
Elisabeth Nehring, Deutschlandfunk Kultur, 18 December 2020

TANZ JAHRBUCH 2021 - CRITICS SURVEY 

Company of the Year: "Berlin's Dance On Ensemble, whose 40+ dancers truly conjured a wheelwork of precision from fantastic kinetic power, formal resourcefulness and abstract clarity in their revival of Lucinda Child's `Works in Silence`."
Vesna Mlakar, Müncher Abendzeitung

Best Stream: "`Works in Silence, choreographed by Lucinda Childs, re-staged by Dance On Ensemble - so simple and complex at the same time"
Elisabeth Nehring, Deutschlandfunk Kultur, Deutschlandfunk, WDR

Most interesting production: "Jan Martens from Antwerp and Rotterdam proves with `any attempt will end in crushed bodies and shattered bones` that streamed dance doesn`t need digital gimmicks to surprise".
Andrea Kachelrieß, Stuttgarter Nachrichten, Stuttgarter Zeitung

YOU SHOULD HAVE SEEN ME DANCING WALTZ

"A mature, multi-layered and moving work that cleverly and skilfully transfers images of violence and longing for humanity into the bodies and thus makes them directly experienceable for the audience."
Annette Stiekele, Hamburger Abendblatt, 16 November 2019

BERLIN STORY

"This evening is a highlight of the festival “Tanz im August” ."
Sandra Luzina, Tagesspiegel, 24 August 2019

"The Dance On Ensemble avoids doing what other mature dance artists often practice: repeating routines while resisting any kind of engagement with the ongoing changes in society and the arts. The ensemble doesn’t fall into the trap of imitating a circus of youthfulness, neither does it lose itself in self-worship – as was the case from 1991 to 2006 with NDT III, Jirí Kylián’s renowned company of mature dancers."
Helmut Ploebst, Der Standard, 25 March 2018

“Start training at 10, arrive on stage at 20, reach the pinnacle of your career at 30, quit at 40. The absence of wrinkles and flab virtually defines professional dancers, but physical decline will of course hit home eventually. When tweaks and twinges can no longer be ignored, it is time to change careers. Years of experience and a huge treasure of bodily knowledge suddenly count for nothing; aesthetic refinement and theatrical charisma are useless appendages. Unless someone like Madeline Ritter comes along, lawyer, pragmatist, pluralistic thinker. Why, she asked herself several years ago, do dancers quit their profession so early – or are rudely forced to do so? Ritter founded Dance On, an ensemble of six dancers. The main selection criterion was age: they had to have crossed the threshold of 40. In a short period of time, the sextet has shown great thrust and promise, making pioneering work. From ‘7 Dialogues’ to ‘Water between three hands’ and ‘Man Made’, they created a small repertoire tailored especially for mature – that is, expressive and self-assured – dancers.”
Dorion Weickmann, Süddeutsche Zeitung, 23 February 2018

“DANCE ON shows fantastic, skilful dance, making it entirely obvious how much potential would be lost if such dancers were not allowed to keep dancing.”
Eva-Maria Magel, Frankfurter Allgemeine Zeitung, 2 December 2016

ELEPHANT

“Tellingly, the Dance On idea is delivered on this night not by a choreographer but the director Rabih Mroué and his duet ‘Elephant‘. Shaded pencil drawings of bodies lying on the ground are projected on to the back wall. They look like crime scene markings. Ty Boomershine recreates the figures in a square of light, watched by Jone San Martin. A photo of a dead body in water appears for just a moment. Refugees, death in the Mediterranean – the associations are inevitable. They are then strangely distorted into a dance for a couple in which the two dancers circle each other ever more closely. It seems they have lived a long life together. Something indescribable hovers in the background, a presence, a moment in the past that points to the future. All at once. It is an impressive piece.”
Michaela Schlagenwerth, Berliner Zeitung, 2 March 2018

“’Elephant’ is the name of the evening’s premiere. It was created by Rabih Mroué, a Lebanese artist living in Berlin who moves between the visual and the performing arts. He sends Ty Boomershine and Jone San Martin, both dressed in casual clothes, on a quest to find themselves. Imitating projections of pencil drawings by Mroué, they assume different poses on the floor. Then strips of lighting guide them through a labyrinth. Their angular strides and movements are accompanied by hissing and growling sounds and startled gasps. Even aggressive crowding out is part of their interactions. Every so often new connections light up on the floor. When the grid of light disappears and the entire stage of the HAU2 becomes visible, the two have to walk for an eternity along complicated, labyrinthine pathways – ironically to a recording of Hans Albers’ stirring ‘La Paloma’ – before they meet in the middle. Darkness envelops the pair, leaving everything open. An enigmatic, aesthetically pleasing piece of dance theatre for two of the presently five Dance On artists.”
Volkmar Draeger, Neues Deutschland, 2 March 2018

MAN MADE

"At the end, all five dancers in Jan Martens' premiere Man Made rotate to hypnotic electronic music in a growing, fascinating frenzy of dance. Experience and quality involve each other – even and precisely in dance."
Annette Stiekele, Hamburger Abendblatt, 13 March 2017

"Here, too, the dance manages at the start without any music at all; only the dancers' rhythmic foot movements can be heard. Each one shapes his or her own part with new individual patterns emerging time and again before dissolving imperceptibly into synchronicity, everyone doing the same thing together, then landing immediately back in separation again. At a certain point, a distant beat starts, rising gradually and mixing with other sounds (sound: Mattef Kuhlmey). In parallel with the increasing and decreasing intensity of light (lighting: Dominique Pollet) and the dynamic of the movements performed by the ensemble in simple black dancewear (costumes: Sophia Piepenbrock-Saitz), a hypnotic whole emerges that increasingly mixes and interweaves until the crescendo finally leads into fortissimo and the music stops suddenly, the dancers continuing to move in unison until the movement also reduces and dies away. Once again, we can see here that dancers aged over 40 bring precisely the degree of intensity and confidence to the stage that you'd like to see in every dance performance, the technique and agility of all these dancers also making a mockery of their age. One can only hope and wish that this ensemble continues for a long time yet, and that it may even get bigger."
Annette Bopp, tanznetz.de, 13 March 2017

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Press Releases

Newsletter Juni 2021
World premiere of "Making Dances -Dancing Replies" by Dance On Ensemble at Radialsystem Berlin

Newsletter April 2021
Dance On Ensemble with four production at Dance 2021 in Munich

Newsletter December 2020
Online-Premiere of "Works in Silence" by Lucinda Childs & Dance On Ensemble

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