Florentina Holzinger (Something Great)

Being a member of Something Great, current engagements include:


World Premiere: 03/10/2019, Tanzquartier Wien, VIENNA (AT)

TANZ is the third part of the trilogy: Recovery, Apollon, TANZ. The trilogy deals with notions of practice through training of different physical disciplines on stage focusing on investigations of how the body is cultivated, shaped and transformed and on the transmission of experience.

TANZ takes early 19th century romantic ballet as a starting point. It uses the frame of a ballet class guided by Beatrice Schoenherr, the first ballerina who danced Le Sacre de Printemps naked (John Neumeier, 1972).

© Eva Würdinger

The performers undergo a rigorous training in action ballet, the so called sylphidic studies. Learning how to use their skills in a genre of spectacle that deals with supernatural creatures, they use the articulation of the dancer’s body as a tool to penetrate space in order to gain knowledge about flying.Through techniques of restraint they collectively practice to govern the body and mind. An ephemeral world- provoking an imminent possibility of perfection by transforming the gross into the sublime and making the functional more than functional.

© Nada Zgank

In an operatic set up brutal parodies of established images of excitement found in ballet, comedy and pornography are made in order to be watched from afar and close. This industry of gaze finds its translation in the work of a porn producer who documents the performance from within.With an all-female cast of twenty to eighty years old performers who represent different dance backgrounds, TANZ poses the question what ‘dancing the lineage’ means and how to reconcile with tradition in the territory of the nonverbal and its relationship to beauty.


Concept/Performance/Choreography Florentina Holzinger
Performance by and with Renée Copraij, Beatrice Cordua, Evelyn Frantti, Lucifire, Annina Machaz, Netti Nüganen, Suzn Pasyon, Laura Stokes, Veronica Thompson, Lydia Darling
Video design/Live camera Josefin Arnell
Sound design/Live sound Stefan Schneider
Light design/Technical director Anne Meeussen
Stage design Nikola Knezevic
Stage assistant Camilla Smolders
Technical assistant Koen Vanneste
Dramaturgy Renée Copraij, Sara Ostertag
Coaching Ghani Minne, Dave Tusk
Music coach Almut Lustig
Outside eye Michele Rizzo, Fernando Belfiore
Theory and research Anna Leon
Costume advisor/tailor Mael Blau
Prosthetic and Mask: Students of Wigs, Make-up and Special Make-up Effects for Stage and Screen – Theaterakademie August Everding Munich, Marianne Meinl
Stunt support Haeger Stunt & Wireworks
Stunt instructors Stunt Cloud GmbH (Leo Plank, Phong Giang, Sandra Barger)
Management Something Great (Berlin – DE) & DANSCO (Amsterdam – NL)
International distribution Something Great (Berlin – DE)
Production Spirit
Executive Production Laura Andreß
Financial administration Julia Haas/SMART (Vienna – AT)

Co-produced by Tanzquartier Wien (Vienna – AT), Spring Festival (Utrecht – NL), Theatre Rotterdam (Rotterdam – NL), Mousonturm (Frankfurt – DE), Arsenic (Lausanne – CH), Münchner Kammerspiele (Munich – DE), Take Me Somewhere Festival (Glasgow – UK), Beursschouwburg (Brussels, BE) deSingel (Antwerp – BE), Sophiensaele (Berlin – DE), Frascati Productions (Amsterdam -NL), Theater im Pumpenhaus (Muenster – DE), asphalt Festival (Düsseldorf – DE)

Supported by O Espaço do Tempo (PT), Fondation LUMA (FR) and De Châtel Award (NL)

Thanks to CAMPO Gent, ImPulsTanz – Vienna International Dance Festival, Eva Beresin, Stefanie Leitner, Tanz-Archiv MUK Wien, Stimuleringsfonds Creative Industries, Mochi Catering Vienna, Andres Stirn

Funded by the Cultural Department of the City of Vienna, Performing Arts Fund NL

Étude for an Emergency – Composition for Ten Bodies and a Car

A commission by Munich Kammerspiele – World Premiere: 01/03/2020, Münchner Kammerspiele, MUNICH (DE)

With “Étude for an Emergency. Composition for Ten Bodies and a Car”, Florentina Holzinger once again draws attention to the body as a spectacle – and to how it can be trained.

A stunt is an unusual and difficult physical activity that requires special skills and is usually performed for artistic reasons for television, theatre or film. An aria in opera is the equivalent to a stunt in an action film.

© Nicole Marianna Wytyczak

With a mixed cast of stuntwomen, opera singers and performers, Holzinger has created a musical study for ten bodies and a car.

The ‘emotional industries’ of both opera and film are dissected with anatomical precision and broken down into their technical aspects alone until nothing remains but the sounds produced by the body.

© Nicole Marianna Wytyczak

Florentina Holzinger deliberately pulls and pushes the boundaries between high culture and ‘mere’ entertainment. The result is a brutal parody of sensationalist images that we are familiar with from film, opera, TV and the internet. In a series of joint operatic rituals and orchestrated crash tests, the performers learn to master their bodies and voices and prepare for emergencies.


Direction Florentina Holzinger
with Marie Bloching, Marie Dziomber, Shirin Lilly Eissa, Sibylle Fischer, Maria Helgath, Verena Konietschke, Anni Kumlehn, Annette Paulmann, Julia Rutigliano, Linnea Tullius
Stage and Costumes Nikola Knežević
Music Stefan Schneider
Light Max Kraußmüller
Dramaturgy Renée Corpaij, Helena Eckert
Stunt Coordination Marc Sieger, Petr Dvorak
Music coach Sibylle Fischer
Production assistance Friederike Kötter
Artistic assistance stage Nicole Marianna Wytyczak
Costume assistance Victoria Dietrich
A co-production by Spirit ( Vienna – AT), Münchner Kammerspiele (Munich – DE)
Management and Distribution Something Great (Berlin – DE)


RECOVERY revolves around struggle as a process of healing and the stage as an arena, in which questions of coping with trauma, a fresh start and female support are raised. It all started with Florentina’s accident during a performance of Silk in Norway, when she crashed three meters to the ground. The work Recovery, inspired by this experience and the title of American rapper Eminem’s seventh studio album, is the product of a lengthy recovery period. Florentina aims at transforming herself into a warrior on both a spiritual and a physical level. Now, evening by evening, she enters the ring to defy the art world, fear and trauma. She prepares for every show as if it was a fight. Thus, each instalment of Recovery is characterized by physical healing and starting fresh, by the recovery of what seemed lost and by the recovery of artistic data.

© Anna van Kooij

The performance emerges from the conviction that the only art worth being made is art that can heal. Florentina Holzinger is inspired by George Balanchine’s legendary ballet Agon, created in 1957. The work’s title means competition and is considered a highlight of Balanchine’s examination of Igor Stravinsky’s music. Florentina created her own Agon which was shown at festival ImPulsTanz 2014 in Vienna and Recovery is based on that piece.

© Anna van Kooij


Concept: Florentina Holzinger
Performed by Florentina Holzinger, Btissame Amadour, Clara Saito, Eva Susova, Lenneke Vos, Orinta van der Zee
Sound Design: Stefan Schneider
Dramaturgy and guidance: Vincent Riebeek, Renée Copraij, Sara Ostertag
Production: Frascati Producties (Amsterdam – NL)
Coproduction: brut Wien (Vienna – AT) .
Management and Distribution: Something Great (Berlin – DE)
Funded by Creative Europe, Life Long Burning, die Kulturabteilung der Stadt Wien and the Performing Arts Fund NL.