Bilderschlachten / Batailles d'Images


“There are still pieces that shift the boundaries and change the world of art a bit. ‘Bilderschlachten’ by Stephanie Thiersch is such an experience.(…) What makes ‘Bilderschlachten’ so revolutionary is the inner cohesion of dance and music, is a kind of synesthesia of the disciplines, which extends from sound and movement to the relationship to space, tempo and ambience. From this unity emerges a powerful maelstrom of freedom, a Dadaist iconoclasm, a fascinating Danse macabre of the history of dance, art and culture.”
Thomas Hahn, in: tanz (September/October 2019)

„… a grand tale about the present state of our civilization told through inspiring, visionary choreographies.“ But we had fun, Bernd Feuchtner, in: (11 May 2019)

„Thierschs extraordinary choreographic and musical fresco delivers real picture battles. […] This piece is one of the most astonishing works, both in its exploration of the dance-music relationship and in its highly multi-layered structure, and yet all is always in consistent coherence.” Batailles d’Images of a triumphing Stephanie Thiersch – Thomas Hahn, in: Danser-canalhistorique (26 May 2019)

„Opera is often described as a spectacle total. Dance can it be, too, when choreographed by Stephanie Thiersch. The artist breaks the barriers, blurs the boundaries for a performance whose visual richness is such that the viewer, at
times, no longer knows where to look.” A hymn to emancipation in front of a disproportionate world, Stéphane Cerri, in: Midi Libre (10 May 2019)

„From the second tableau on the whole unique and fascinating poetry of Stephanie Thiersch‘s oeuvre is expressed through a visually hilarious score. On stage, creatures move with the most surprising silhouettes, a firework of shrill colours.” Attention! Objet Chorégraphique Non Identifié remarquable!, Julie Cadilhac in: La Grande Parade (19 May 2019)

„Batailles d‘Images is an outrageous piece of incredible synesthesia in which sounds, colors and gestures enter into dialogue. Dynamic, breathtaking, full of inventiveness and dedication, this creation proves the remarkable sense of
space and the fine originality of Stephanie Thiersch. […] Must see!” Attention! Objet Chorégraphique Non Identifié remarquable!, Julie Cadilhac in: La Grande Parade (19 May 2019)

As a choreographer who likes to combine the arts and aesthetics, Stephanie Thiersch creates a mixed setting where 8 dancers cohabit the stage with the Asasello Quartet, and 41 musicians of the orchestra Les Siècles. On an original composition of Brigitta Muntendorf crossed with the humorous and macabre composition of Bernd A. Zimmermann, she creates a ballet noir around the power of images. Media, consumption…we live in the monstrous era of a „too much“. These battles scrutinize its contemporaries: how many images can we seize simultaneously? How do we react when there is nothing more to see and hear?
Voracity and the lack of measure are at the heart of this creation. Between purity and saturation, this playful piece offers new perspectives of the artificial and authentic, of history and present. All of this happens in an innovative form that seeks for possibilities to extend the notion of sounds and bodies. Enthusiasts of a work „poétiquement stimulant“, the artists reveal the machinery of visual seduction anchored in today‘s society.


Choreography/Direction: Stephanie Thiersch
Musical Direction/Composition: Brigitta Muntendorf
Les Siècles Orchester/Conductor: Benjamin Shwartz
Asasello Quartett: Rostislav Kozhevnikov (1. Violin), Barbara Streil (2. Violin), Teemu Myöhänen (Cello), Justyna Śliwa (Viola)
Lightdesign: Begoña Garcia Navas
Choreography/Performance: Fabien Almakiewicz, Neus Barcons, Alexis ‚Maca’ Fernández, Julien Ferranti, Gyung Moo Kim, Alexandra Naudet, Camille Revol, Joel Suárez Gómez
Choreographic Assistance: Marcela Ruíz Quintero
Costume Design: Sita Messer
Costume Assistance: João Lamego
Outside Eye: Stawrula Panagiotaki, Fabrice Ramalignom
Photography: La French Focale
Management: Tanja Baran, Béla Bisom
Production Management: Karolin Henze, Anna-Mareen Henke


In Coproduction:
Théâtre de Nîmes (F)
Beethovenfest Bonn
tanzhaus nrw Dusseldorf
ensemblenetzwerk Freihandelszone

In Cooperation with: Brigitta Muntendorf, the Asasello Quartet and the orchestra Les Siècles

Composition: Bernd Alois Zimmermann „Musique pour les soupers du Roi Ubu” (1968) / Brigitta Muntendorf “Six moods to stand kings up” (2018/19)

Funded by: the German Federal Cultural Foundation, Kunststiftung NRW, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, RheinEnergieStiftung Kultur, Kulturamt der Stadt Köln

This project is part of the residency program schloss bröllin e.V., supported by Ministerium für Bildung, Wissenschaft und Kultur des Landes Mecklenburg-Vorpommern and Landkreis Vorpommern-Greifswald

Photography: Martin Rottenkolber, La French Focale, Sandy Korzekwa