Susanne Linke, Akut
Before studying at the Folkwang School in Essen, Susanne Linke received her dance training in Berlin under Mary Wigman. From 1970 to 1973 she was a dancer in the Folkwang Dance Studio under the artistic direction of Pina Bausch. This is where she first developed her own choreographic works. Later she directed the Folkwang Dance Studio until 1985.
In the early 1990s she was artist-in-residence at the Hebbel-Theater in Berlin. From 1994 to 2000 she directed the troupe of the dance theatre at Theater Bremen. From 2000 to 2001 Susanne Linke was a founding member of the Choreographic Centre NRW in Essen and its designated artistic director. Her many appointments as guest choreographer included those for the Limon Dance Company, the ballet of the Paris Opera, the Kibbutz Dance Company, the Netherlands Dans Theater, the Choreographic Theater Bonn, and the Aalto Ballet Theater of Essen.
In the end, there has to be a clear statement and a clear feeling.
The quality of a piece always also has something to do with the quantity of what has been thrown out. You just leave what is really necessary. It’s a long process – in all the arts. It’s cutting a diamond. What I have learned in my career is that too many movements weaken a choreography. I work with various partners in very different set-ups, from commissioned choreographies for independent companies to established municipal theatres.
My own productions were produced mainly in the Hebbel-Theater, Berlin, and the Choreographisches Zentrum PACT Zollverein Essen."
As a solitaire she belongs to an endangered species. Combined in Susanne Linke is not only the legacy of German Expressionist dance as handed down by Mary Wigman and Kurt Joos, but also that of German Dance Theater, a genre she herself invented. Inspired by Dore Hoyer’s poignant presence and form-giving emotionality, Susanne Linke followed the path even further and developed dance as an existential art form. She distrusted concepts. What has mattered most for her is “this aura of something”, and the palpable and visible energy and sensuality of the body in space and time, born from a unity composed of body, soul and spirit.
Mary Wigman passed on to her the sense that a dancer’s body is only then transparent and porous when dance enlivens it from within. This high level of demanded quality exists in all her solos, duets, and group dances. While passing on her 1985 autobiographical piece “Schritte verfolgen” to a group of young female dancers, she playfully trains herself for her major dance feat “Im Bade wannen”.
With “Kaikou” she turns her attention to the choreography “Ruhrort” (1991) and once again concentrates on a strong team of men. The quartet (with Urs Dietrich, Henry Montes, and Brice Desault) developed from a solo in which animalistic and human drives transform.
stage 10 x 10 m – 60 min
Kaikun Yin (2008)
solo – stage 10 x 10 m – 11 min
Schritte verfolgen (Reconstruction 2007)
Susanne Linke/VA Wölfl
solo – stage 10 x 10 m – 12 min
solo – stage 10 x 10 m – 18 min
Im Bade wannen (1980)
solo – stage 10 x 10 m – 15 min
solo – stage 10 x 10 m – 10 min