Performance for five women

’When I look at women, I look into a different world. A universe without outlines and without firm shape. Everything moves and changes constantly as when looking at a group of seagulls when standing on a quay at the harbour. A kaleidoscopic confusion with all possibilities of getting lost. At the same time I am drawn towards the incomprehensible as plus is drawn towards minus. Towards obliteration in my own contrast.

I have tried to focus the feminine by staging the five women from three angles. Three independent perspectives which as a whole give a picture of what I see from the distance I am watching it.’
Thomas Eisenhardt, April 2001

From my view as chosen to represent Denmark on the international festival Cinar’s in Canada.

Reviews

”Eisenhardt’s strength is that he has equally much sense for the stage as a whole as for the movement in the dancers. As admirer you are not confined to the self-admiring introversion of the female gender but can experience a dynamic stage where your vision is busy by being free. Eisenhardt has the courage to make a dancer stop and perform an untouchable sculptural foreground. He has the courage to let women perform modern human beings with all the resistance to do so and need to be just that – and to be objective. To be seen just on the edge of an admirer’s view.”
Janus Kodal, Politiken, 25 April 2001

”Eisenhardt has more that other choreographers the ability to enter the individual parts of the body, i.e. get a foot or even a toe to speak. Eventually, all the dancers are shown (almost) naked in poses as Botticelli’s Venus Anadyomene or German, expressionistic performers of body culture.”
Charlotte Christensen, Information, 25 April 2001

”and wonderful Louise Hyun Dahl as a vital bundle of energy full of joy for dancing and a rhythmic sense of music in her body quite unique in modern Danish dance”
Majbrit Hjelmsbo, Weekendavisen, 4 May 2001