d a n c e / t h e a t r e /
w o r k s





movement research

lecture demonstration


Miss Schubert´s World
dance and fight

kleine welten
jagen I
jagen II


is a mythical creature, a kind of female centaur. An animal that embodies many animals. She contains the dancer and moves about with a natural, ordinary presence, that is when she's not defending her territory, which she does with a distinctive presence.

Choreography, Dance, Slides: Eleanora Allerdings
Adviser: Ursula Ritter-Gratvol
Music: Jean Marc Zelwer; Madonna
Text: G. Bateson taken from "Mind and Nature" written in 1979.
Duration: approx. 15 min

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Miss Schubert’s World

Miss Schubert is living in an illusory world: she can move along ritual pathways on the stage and only uses a highly limited movement vocabulary. Her psychiatrist is trying to free her with the help of a few experts from the audience ...

”Miss Schubert's world” is an interactive game in which several players from the audience have to find different solutions for healing the protagonist.

Concept and Acting/Dancing: Eleanora Allerdings
Psychiatrist: any actor from the local community
Music: Art Of Noise
Duration: approx. 25 minutes

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dance and fight !

dance and fight – these seemingly contrary things are interwoven in jerky lines of narrative and movement. Six of the eight stories that are told in the piece are about personal experiences of violence within the artist's closest surroundings.
The two framing stories are tales and recommendations for fighting practice of 16th century Samurai Myamoto Musashi.
The dancing in the piece is inspired by the music of Louis Sclavis which creates a powerful framework for the performance of dance and fight!

Dance, Text (in English) and Martial Arts: Eleanora Allerdings
Music: Louis Sclavis
Duration: 25 minutes

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was created out of my curiosity about rhythm -- how to make a dance through formally connected steps, jumps and turns that would contain its own music inside.

What would the relation between space and tempo sound like?
How would the sound of a quarter turn differ to the sound of a half turn?
The whole choreography is designed in a way that swings – sometimes audibly, sometimes visibly. Indeed, the work may be thought of as a merging of the two and the final impression is one of "seeing music".

Choreography & Dance: Eleanora Allerdings
Duration: 11 min

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greetings (from Russia)

greetings (from Russia) uses the technique of certain kinds of Russian Folkdances that are danced entirely on the balls of the feet.
Since the feet are hidden under a long skirt, this way of moving evokes the image of a floating person.

The piece exagerates the look of a Russian folk dancer hiding entirely within a costume. Like a moveable piece of architecture, this figurine floats about the stage. At one
point she conjures up a tiny doll which becomes her partner for the remainder of the dance.

Merging the stage principles of Bauhaus artist Oskar Schlemmer with own inquiries of Russian folk art, the piece gradually takes on an air of a magic tale about witches and doll-girls. It follows a dreamlike narrative where nothing is certain, nothing outspoken.

The music of Peter Fulda, which has been especially composed for the choreography, supports this atmosphere in using two slightly off-tune accordions and the melancholic tunes of Russian folk music.

Choreography & Dance:
Eleanora Allerdings
Music: Peter Fulda
Costume: Berit Mohr, E. Allerdings
Duration: 15 min

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kleine welten (tiny worlds)

"kleine welten" emerged from simultaneous explorations of composer-musician Peter Fulda and choreographer-dancer Eleanora Allerdings on the theme of „small forms“.

The choreography limits itself spatially to a circular carpet two meters in diameter. In the dimension of time, the aim was to find the most concise form for every section of choreography, so that in the end there were pieces lasting between 20 seconds and three minutes. The choreographies, each with its own title, contain abstract movements, drama and emotion as well as the recitation of a childhood poem and costume changes.

The composer laid down a 10-bit-formula which functions as a basic formula, allowing for an infinite amount of derivative compositions.

kleine welten is an expanding form. It acts as an open parenthesis -- it can embrace anything. Like an
encyclopedia, it encompasses all that has so far been named and created.

Choreography and Movement Display: Eleanora Allerdings
Composition: Eleanora Allerdings, Peter Fulda
Piano: Peter Fulda
Guitars: Dirk Muendelein
Duration: 25 – infinite minutes

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jagen I (hunting)

is a dance-theatre-music collage based on hunting rituals, roast venison, archetypes, horn signals to honour dead animals, and myths of predator and prey.

The texts originate from Marlen Haushofer, Tschingis Aitmatov, Hugo Ball and Knaurs Jagdlexikon. Music is by Cole Porter and others.

Interwoven with a comedy-style are more abstract passages that deal with ”animalness”, living, dying and fighting.
Parts of the solo animal are also integrated into the piece.

Direction & Dance: Eleanora Allerdings
Acting & Songs: Lea Schmocker
Trombone: Ralf Bauer
Lighting Design: Britta Mayer
Duration: 50 min

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jagen II (hunting II)

As a continuation of >jagen 1<, >jagen 2< became a one-time-only event on November 24th, 2001. It included guest artists from Cologne, Berlin and Ulm, a storyteller, two set designers and two musicians.

Choreographed parts and improvisational scores formed the heart of the piece. It also included a slide show of raised hides, a song performed with the help of the audience, a massive costume change of all actors/dancers and a touching solo by Eduard Pitkowski.

Concept, Choreography, Dance, Slides: Eleanora Allerdings
Dance: Eduard Pitkowski, Ursula Ritter-Gratvol, Sigrid Westenfelder
Recitation: Martin Ellrodt
Set Design: Roswitha Weigand, Thomas Kellner
Trombone: Ralf Bauer
Trumpet & Tech: Iris de Boor
Choreografy & Dance ”verlorene Beute” : Eduard Pitkowski

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