CHOREOGRAPHIES-Group choreographies and soli-Susanne Linke

"You want to say what your´re concerned about -

so I try to say something in my choreographies." - Susanne Linke

"A special style characterizes Susanne Linke´s work..." - Hedwig Müller

"Her dance is the clearly spoken expression of body and motion..." - Marianne Reißinger

"You want to say what your´re concerned about. You want to have people react to what you say. In my case, I experience it the most in my choreographies - so I try to say something in my choreographies." -

Susanne Linke

 

"The quality of a piece is always related to the quantity of what you threw away. You only stay with what is necessary at the end. This is a long process in all art forms. You polish a diamond." - Susanne Linke

 

"I love the wind on my body. It doesn´t come on its own, you have to do a lot for it. An enormous power is required to reach this stat in which it "ripples" in my body and the energy flows.

I experience that in my most positive moments in solo dance." - Susanne Linke

from the left:"Schritte verfolgen"/photo:H. Lohmann;"Wandlung"/photo:R. Zouari;2x "Affekte"/photo:R. Zouari;"Im Bade wannen"/photo:M.  Redl-von Peinen
from the left:"Schritte verfolgen"/photo:H. Lohmann;"Wandlung"/photo:R. Zouari;2x "Affekte"/photo:R. Zouari;"Im Bade wannen"/photo:M. Redl-von Peinen

"A special style characterizes Susanne Linke´s work that unifies German dance tradition and American Modern Dance. Her subjects are the basic elements of human existence, the confrontation with herself and her surroundings, and the untiring search for the meaning and content of life." - Hedwig Müller

 

"If one considers that a bathtub is also on stage in the group piece "Wowerwiewas?", which premiered in 1980 like "Im Bade wannen", then one sees in the example of these five works (of a total of 50 in 30 years), how many of them reference one another and what dialogue they share. In the solos, Susanne Linke is in search of her own identity; here she goes to the depth of motion and expression´s spectrum, concentrates her means and tests her material. She questions and models the results of this research again and again. Psychological self-expression is not what one finds here; she works with spatial and movement paradigms. She concentrates them and in this way creates closely graduated changes in intra-corporeal tension and energy. The efficiency is not exhausted in a formal strigency, but rather increases to a high emotional density with great force and a certain inexorable stance towards herself.

"I manage best at getting to the root of things alone," she says. Her group pieces take over the playful re-stagings, varied formulations and dance-theatrical confabulations; they are also based to a large extent on the dancers´ contributions." - 

Katja Schneider, Fortführung und Variationen

 

"Her dance is the clearly spoken expression of body and motion; her choreographies are developed with fantasy from the music. They are refind, without gimmickry." - Marianne Reißinger, Abendzeitung München, 1982

from left:"Afectos humanos"/photo:Gert Weigelt;"Affekte" with Urs Dietrich/photo:Marco Caselli
from left:"Afectos humanos"/photo:Gert Weigelt;"Affekte" with Urs Dietrich/photo:Marco Caselli

"But what powers want to unfold here. I haven´t seen such dance intensity since Dore Hoyer."

Hedwig Rohde, Der Tagesspiegel, Berlin 1982

 

"Linke throws herself into this humor with all of her dance power, which effortlessly enlivens the empty space. Here she is at the pinnacle of her performative and choreographic abilities - and in the company of German dance

tradition´s best." - Norbert Servos, Ballett International, Köln, 1983

 

"She uses her creative and visionary fantasy in a shape that emanates from within her; it is subjective and hermetic, but still convincing in its conciseness and coherence." - Hamburger Abendblatt, Hamburg, 1983

 

"In her role as a fascinating solo dancer, Susanne Linke saves something of the compelling expressivity of a Dore Hoyer, who she reveres and who inspired her, or of a Mary Wigman, her teacher. She touches and reaches us do directly because she reveals herself with all of her fears, visions and dreams." -

Irene Sieben, Berliner Morgenpost, Berlin, 1984