BODYCHAPTERS a trilogy of metamorphoses unfolds in three studies of becoming - a choreographic exploration of the body beyond its own rules. It moves within the tension field of fragility and metamorphosis – two seemingly opposing yet interconnected principles. Fragility encounters transformation, vulnerability meets renewal. These poles are not perceived as opposites but as parts of the same cycle: not fixed states, but ongoing processes. They open a space in which the human condition, in all its contradictions, becomes visible – not as weakness, but as strength.

In times of global upheaval, digital acceleration, and collective uncertainty, they tell a profoundly human story of becoming and passing, of failing and breaking open – and invite us not to escape these states, but to give them space. Fragility is not understood as weakness, but as a condition of openness – a space of possibility. It points to our finitude, to imperfection, and to the potential for change. In a world that strives for control, strength, and permanence, fragility becomes a force of resistance: quiet, poetic, radically truthful.

Metamorphosis is not a sudden shift, not a final resolution, but a continuous process. The old dissolves, the new emerges. Transformation is not only the effect of time but also the expression of an inexhaustible force of shaping and forming. In movement, sound, and image, a continuous dialogue unfolds between body, time, and matter.

SHIVER is part of this trilogy – a choreographic self-conversation, a dance with one’s own shadow. The body becomes a projection surface for inner processes, carrying history within and preserving an immanent memory. Fragile movements allow the invisible to appear, making the sensation of groundlessness tangible. A fleeting discourse arises, in which meaning is created, destroyed, and transformed through movement. The old dissolves, new bodily states emerge – powerful, vulnerable, courageous. In a world that often celebrates only strength, SHIVER honors the poetic power of fragility. Every transformation carries traces of breaking; what remains is a new form of bodily knowledge, consciously lived. The performance invites us to understand vulnerability as a prerequisite for change and new possibilities.

The stage is not a realistic place, but a discursive inner space – open, exploratory, permeable. Between intimacy and public exposure, a space emerges that is not observed, but shared. Perception and movement intertwine, so that every gesture generates resonance. It is a space that unfolds as it is experienced – a space in constant motion, fleeting and yet powerful.

Another part of the trilogy is dedicated to metamorphosis and moves within the layered tension between image and transformation. It opens a poetic reflection on how form changes, dissolves, and recomposes. At its center lies the question of how matter, bodies, and images absorb, store, and carry memories – how traces of past forms remain inscribed in them, reappearing in new guises rather than disappearing. Transformation is thus not understood as mere change, but as a process of remembering and overwriting, a movement between loss and return. Fragments of the past permeate the new, old layers resurface and shape the present, without ever being fully fixed. Fundamental questions emerge: What drives transformation? Is it an inner necessity, a desire for unfolding, or a response to external forces? What remains when form dissolves – and what is lost forever? And finally: What returns, transformed yet recognizable, as an echo of an earlier shape? Metamorphosis as a suspension between memory and creation, as an aesthetic and existential process that keeps images, bodies, and matter in ceaseless motion.

In addition to the development of independent creations in parts 1 and 2, the third and final part of the trilogy presents itself as the result of a direct confrontation, synthesis and transformation of the two preceding works.

Both parts of the trilogy, Fragility and Metamorphosis, revolve around change as a central principle of life. Body, image, and matter exist in a constant state of transition – nothing remains unchanged, everything transforms.

Resonance connects these layers. The past reverberates in the present and shapes how things appear now. Every movement, every posture carries traces of what came before – the body itself becomes an archive of memories, gestures, and experiences. Together, fragility, metamorphosis, and resonance form an aesthetics and force of becoming, in which the body serves as a medium and each image becomes an archive – a choreographic, visual, and emotional exploration of transitions.

The stage becomes a space of resonance where becoming and passing coexist visibly. The body is not a mere representation but a means of transformation – vulnerable, malleable, and open to what is emerging. This creates a poetics of permeability, in which inner and outer processes flow into one another.

As in the previous productions, great emphasis is placed on movement research. New movement forms and bodily languages, based on different strategies, are explored. Through specific tasks, dancers generate movements, for example by manipulating the body in unusual ways. The search for imperfection in movement remains a central element, as these deviations can lead to a distinctive, unique aesthetic.on remains: How far we will fly? As far as we are.