Rehersal pictures by Klaus Fröhlich and Alessandro De Matteis



6 performers, 1 technician

Space: 10 m x 12 m


German premiere: 18.09.2020,

Ringlokschuppen Ruhr Mülheim (DE)


Swiss premiere: 23.09.2020,

Théâtre du Crochetan Monthey (CH)


Co-produced by Ringlokschuppen Ruhr Mülheim, Théâtre du Crochetan Monthey and Hessisches Staatsballett in the frame of Tanzplattform Rhein-Main, a collaboration project between the Hessisches Staatsballett in Staatstheater Darmstadt and Hessisches Staatstheater Wiesbaden and Künstlerhaus Mousonturm, Frankfurt.


In collaboration with Malévoz Quartier Culturel and Theater im Ballsaal Bonn.


Funded by: Pro Helvetia, ThéâtrePro Valais, Loterie Suisse Romande, Conseil de la Culture État du Valais, Fonds Darstellende Künste, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, NRW Landesbüro Darstellende Künste e.V., RheinEnergieStiftung Kultur, Bundesstadt Bonn  


By and with: Fa-Hsuan Chen, Martina De Dominicis, Álvaro Esteban, Tanja Marin Friðjónsdóttir/ Susanne Schneider, Anna Harms, Frédéric Voeffray

Choreography:  Rafaële Giovanola

Composition: Jörg Ritzenhoff, Franco Mento Light, space: Boris Kahnert, Peter Behle Costumes: Mathilde Grebot

Coaching Ballett: Isabelle Fokine

Coaching Muay Thai: Priest West

Outside eye:  Susanne Schneider, Leonardo Rodrigues

Dramaturgy: Rainald  Endraß 

Production management:

Daniela Ebert, Neele Renzland

Management: Mechtild Tellmann, GROUNDWORKERS




In its last pieces CocoonDance embarked on the search for the 'unthought' body. This is a result of specific working methods that can be summarized as: process-oriented, open-ended and reflection-intensive. The result is more than just original dance pieces: "Experiments of body, external and self-perception", which offer viewers a new look on the body and movement. Bodies that transform into something new, alien, and movements that move not only the bodies of the dancers, but those of the audience.


The starting point of such projects like MOMENTUM or VIS MOTRIX was the physical encounter with a different, alien form of movement. HYBRIDITY brings together two very different cultures of movement and their associated body concepts - on one hand Muay Thai (also called Thai boxes) which has been practiced in Thailand for hundreds of years, and on the other hand, the romantic ballet,  in the form for example associated with Mikhail Fokine. In order to be able to study the material as authentically as possible, we are in contact with the granddaughter of Mikhail Fokine, Isabelle Fokine, who administrates his heritage and is advising ballet companies worldwide for rehearsals of Fokine's choreographies, as well as for Muay Thai the former World and  European champion Priest Tyron West.


Both forms of movement, ballet and Thai boxing, are part of the supported cultural heritage and continue to influence the respective traditional body images (in Asia and Central Europe) and could hardly be more contrary: on the one hand the choreographic ideal of the immaterial, l ethereal body - on the other hand a full-contact sport. Ballet meets martial arts, sublime aesthetics meets culture of war, high civilisation meets folksy movement culture. The central elements of the two physical practices will be explored in the Hybridity project and linked together in a new “body design”.


For a strategy of hybridity, it is necessary to unite something that was not previously connected, neither spatially nor temporally. For the present project, it offers us the opportunity to generate new forms of embodiment through the fusion of two opposing body techniques, such as ballet and Thai boxing, and to contribute to an expansion of our definition of the body. Such a method does not draw on traditional body images, nor on a social construction of body and gender.


For the creation of hybrid models, the contemporary dance is virtually predestined because, like no other discipline of artistic modernity it is “due to the lack of heritage by no means disqualified, but on the contrary precisely defined by it. Instead, something unthinkable dawns there, able to allow the body to reinvent its own history. Therein lies the unique fate of this orphaned art that had to give birth to itself out of nothing. Who is forced to seek or even invent a distant, repeatedly interrupted lineage." (Laurence Louppe: Poetics of Contemporary Dance)