4 Performer, 1 Technician

Space: 10m x 10m

Duration: ca. 0:45 h


Premiere: 02.03.2018 / Bonn


In collaboration with: Théâtre du Crochetan Monthey, Malévoz Quartier Culturel,  Ringlokschuppen Ruhr Mülheim, Theater im Ballsaal Bonn


Funded by: Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Bundesstadt Bonn

and within the frame of the residency programme: Théâtre-ProVS, Le Conseil de la Culture Etat du Valais, La Loterie Romande


With (current line-up): Fa-Hsuan Chen/ Martina De Dominicis/ Tanja Marín Friðjónsdóttir/ Anna Kempin/ Susanne Schneider/ Marie Viennot

By (original line-up): Fa-Hsuan Chen, Martina De Dominicis, Tanja Marín Friðjónsdóttir, Susanne Schneider

Choreography: Rafaële Giovanola

Composition, Sound:  Franco Mento

Light, Space: Gregor Glogowski

Costumes: CocoonDance 

Costume advice: Mathilde Grebot

Pictures: Klaus Fröhlich

Video trailer: Michael Maurissens

Dramaturgy, Concept: Rainald Endraß

Management: Mechtild Tellmann



VIS MOTRIX creates some strange as well as fascinating beings. The dancers seem to come from another world, they move through space and merge into an organism, a mixture of human being and machine, creating a hypnotic power that one can not escape.

What is the driving force, the soul (Vis Motrix) behind the movements of these hybrid beings? CocoonDance continues with this production its research of the “unthought” body: transhumanism as a traumatic round dance that does not leave our unconsciousness untouched.


Nomination for "Performance of the Year" in the critics’ survey of the professional magazine “tanz 2019 “by  Bettina Trouwborst (Westdeutsche Zeitung): "'Vis motrix' by CocoonDance, Bonn: a work of hypnotic motion intelligence." (Jahrbuch Tanz 2019)




... these bodies here seem like aliens. Alien in the form, alien in the movement, alien in the outfit. They seem to come from another world. Not human, not animal, not machine - and yet something of everything: hybrid beings as they display  through their movements. (...) The dancers, Fa-Hsuan Chen, Martina De Dominicis, Tanja Marin Friđjónsdóttir and Susanne Schneider, are above all the ones who are strengthening the hybrid choreography by Rafaële Giovanola - oscillating between human and animal - through their strong presence. (Klaus Keil, tanzweb.org, 04.03.2018)


For Fa-Hsuan Chen, Martina De Dominicis, Tanja Marin Fridjonsdottir and Susanne Schneider, it must be a tremendous challenge to endure for 45 minutes such an extreme body tension. They master it with bravery. Like insects they are gliding across the floor, turning 180 degrees in a flash, moving their limbs with a sudden jerk, and thereby creating for the spectator something that strangely oscillates between a biological organism and a mechanism. And that is very fascinating. (Bernhard Hartmann, General-Anzeiger Bonn, 05.03.2018)


Fa-Hsuan Chen, Martina De Dominicis, Tanja Marin Friðjónsdóttir and Susanne Schneider are doing this kind of dance very intensively, to sheer perfection, fluently and with an admirable sense of timing! (Jürgen Bieler, Bonner Rundschau, 09.03.2018)


Pure movement can not be visualized, but we can sense its magic as well as its mechanical effect inside every living being. … Rafaële Giovanola offers her audience a view of the female body never seen before. Just for this visual stroke of genius the production deserves attention. … Cocoondance shows how entertaining a production can be which is developed with strict formalism and playing out, with mathematical precision, multiple combinations of four bodies in space. (Thomas Linden, Kölnische Rundschau,  20.03.2018)


They appear like hybrid beings between human, animal and machine. Through the light design of Gregor Glogowski a filigree calligraphy emerges from their bodies and shadows, but signs of it remain indecipherable. The extreme body tension goes to the limits of what is physically possible. The dancers master the challenge brilliantly." (Elisabeth Eincke-Klövekorn, culture No. 145 / March 2018) 


In VIS MOTRIX CocoonDance choreographer Rafaële Giovanola challenges her dancers to a maximum physical performance. Vis means power in Latin. Motrix is the grammatically feminine form of engine. ... Mysterious hybrid beings who move strangely; alien, but by no means threatening. … Fa-Hsuan Chen, Martina De Dominicis, Tanja Marin Fridjonsdottir and Susanne Schneider are accomplishing in VIS MOTRIX an outstanding artistic and physical feat. (Sandra Prüfer, bonnections.de, 13.04.2018)


They never rise on their two legs - except for a short exception, but then they fail on the solid verticalness, crashing and falling like waves. As previously in "Momentum", VIS MOTRIX also pursues the depersonalization, without miming old-fashioned robots. It excavates an unfamiliar, soulless human component from the female dancers and their togetherness, which is meant to be futuristic and has something strangely magical about it: an ageless power." (Melanie Suchy, Stadtrevue Kölnmagazin, 4/2018)


Anyone who has watched the guest performance of the Bonn dance ensemble CocoonDance at the Move Dance Festival at Fabrik Heeder leaves the hall both fascinated and enraptured. Fascinated because you rarely see such movements on the dance stage. Enraptured because the recent production VIS MOTRIX by choreographer Rafaële Giovanola unfolds a hypnotic maelstrom .... . (Bettina Trouwborst, Westdeutsche Zeitung, 12.11.2018)


It's one thing to worry about the future, it's another to set the dystopian delicacy: "Vis Motrix", without a doubt, double-stroke. (Victor Inisan, www.iogazette.fr, 02.02.2020)


The virtuosity of artists, their ability to go beyond the codes, to go to less beaten trails and their impeccable technique fascinates and captivate. (Olivier Frégaville-Gratian d’Amore,  www.loeildolivier.fr, 15.02.2020)


The obsession with repetition of gesture and the purity of the line of writing combined with a dose of improvisation and listening make Vis Motrix a generous work that injected retinal images into our brain. This four-supports move is a genius idea. (Amelie Blaustein Niddam  www.toutelaculture.com, 14.02.2020)