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The Red Book

The Red Book is the diary of C.G. Jung written from 1913 to 1930, full of notes, dialog and drawings. It is the witness of C.G Jung’s battles with himself during that time of confusion. Later he stated that this book contains the fundamentals of his life’s work: his theories of archetypes, collective unconscious and individuation. The piece is a response to the images and the notes with contemporary dance (Elfi Schäfer-Schafroth), music (Bruno S. Mantel) and text (C.G. Jung spoken by Verena Hoehne).


Literally translated ‘Lichtungen’ means ‘glades’ or ‘clearings’; also, illumination and, in a metaphorical sense, a hope for life. The New York Times praised the solo dance performance, “... an immensely touching apparent journey through past hopes and disappointments” (Jennifer Dunning), and mentioned it in the 2004 NYT Year of Culture.

We thank Amos Pinhasi, Elvi Leu, Faith Jensen-Ismay, Herve Le’Goff, Jean Isaacs, JoAnna Mendl-Shaw, Lynn Simonson, Norbert Servos, Robert Small, Tina Mantel, Ursula Berger and Zvi Gotheiner, who contributed a movement phrase about joy.


Amourire is a poetic dance theater, a passage through time, in which loving, dieing and smiling (translated from French amour, mourire and rire) converge to a dense experience. Amourire emenates from the miracle of life and the question of how we deal with aging and dieing. Elfi Schaefer-Schafroth represents, reminds and anticipates different stages of life: she becomes a child, teenager, adult, and old woman. She travels through time without being able to escape its reach, but looking back with a smile on her lips.


Noa tells the story of a modern-day female Noah confronted with the task of forming a new world, a woman at the edge of reality who must trust her own visions. This noa has everything needed for a New World — power, humor, and love. Visual elements by Martin Schaefer, Rolf Zurfluh, David Howard and music by Beat Escher, Philip Howard.


millefeuille tells of a woman who - while still dreaming - discovers a new facet of herself. Once again the "false" dreams and illusions rise up, force their way into her world, soft, tender, seductive, but also furious and brutal. But it is becoming increasingly clear who she is and where she has to go. In a kaleidoscope-like mirror world she experiences what is her own and what is foreign, lets herself be introduced into illusionary spaces and yet remains confronted with her reality.


"An sie (Isabelle Eberhardt) erinnert dieser Sandsturm auf der Bühne im Theatersaal Rigiblick, den Elfi Schäfer-Schafroth in wildem Tanz, in verqueren Drehungen, in kraftvollem Spiel wehen lässt. Und als dieser Sturm sich legt, und die Worte der Wüstenfahrerin Eberhardt durch den Raum klingen, "man ist nur frei, solange man allein ist", tanzt die Tänzerin ohne Netz und doppelten Boden, ohne Stab und Sand, sondern nur mit sich, dem Körper - solo eben. Den Alleintanz einer Frau, die sich auf sich selbst verlassen kann." 

Neue Zürcher Zeitung


Images tells of a poem and of listening: Paul Celan's Todesfuge, found again a few days after neo-Nazis attacked the deaf in a refugee home.

Press-kit Tanzprojekt
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