Let ́s dream - Where the light is caught
The choreographer Doris Stelzer thematises the “Schlager” at Tanzquartier Wien
Stelzer disconcerts her own clientel exactly by not immediately thundering away with the obvious – that would be persiflage – but by getting into the act very quietly, stretching time with relish.(...) With this minimalism, underlined by two movable metal frames hanging from red thread (stage: Jan Machacek), Doris Stelzer has already won the day.(...)
With many subtle overtones, the striking duo Oberleithner/Vidlár plays through the structure of the kitsch-saturated commercial spectacle, leaving enough room for the question why an elite which slides along on its specific sentimentalities should deem itself so high above the platitudinous mawkishness of alleged country bumpkins.
Helmut Ploebst, Der Standard, Print, February 7, 2012
The aped body
Doris Stelzer’s “gender jungle” in the Tanzquartier Wien
Stelzer’s sex-education work is a diabolical game with all the controllers of attention that offer their services to the body, its representation and its bigoted commercialisation, in the art business too. The choreographer is giving them the finger. A smooth, elegant gestures whose movement motives are “dirty” in the best sense of the word. Through the body and its social and biological gender flows the primal soup of anarchy, and the permanent revolution rages in the gender jungle, which is obstinately resisting deforestation. From this point of view gender jungle – wo/man is a danced nightmare: clean on the surface and for all watchmen depraved in its structure.
Helmut Ploebst, corpus, online, www.corpusweb.net, January 16, 2009
Tanzquartier & brut
Variations on the body
With Stelzer, Judith Butler’s Gender Trouble becomes a gender jungle. Confusion accompanied by irony. Two dancers and Lieve De Pourcq, an athletic beauty character, flirt with stereotypes and attractiveness. They practise cross-dressing, flex their muscles, set their luxuriously toned bodies in lascivious poses. Stelzer makes fun of the way in which the consumer gaze is geared to the clichés of beauty and gender attributions and skilfully mocks the ambivalence of the commercially designed androgynous bodies.
Helmut Ploebst, Der Standard, print version, January 18, 2010
Female or male?
Doris Stelzer explores patterns of movement
There is no lecture and no earth-shattering discovery either, but once again we can realise that it is not the body, not nature, that determines the swing of the hips and high heels, but social norms and customary forms.
The choreography is staged with a knowing wink and in every phase of the brief hour corresponds to the Horatian dictum of “profit and pleasure”. An essential element of the pleasure, however, is not just the shifting of gender clichés from woman to man and back again, but above all the performing trio. Lieve De Pourcq, Gabriel Schenker and Ond!ej Vidlár work with muscles and bones as if they were mouldable material and, despite great physical demands, have a great deal of fun with the performance.
Ditta Rudle, www.tanz.at, online, January 24, 2010
Normally? Ideally? Doris Stelzer breaks with usual body images
An evening with little dancing and a lot of movement. “view in process” changes the viewing habits in two ways: the choreography allows a sensitive look at the details of our bodies and a new view on society’s internalized body images. Provided that one is willing to open one’s eyes.
Lena Zieker, www.tanznetz.de, online, December 4, 2008
The advertising body’s bony snout
Stelzer, Dimchev and Stuart at ImpulsTanz
Images of the female body and clichés
Doris Stelzer, Katharina Weinhuber and other young choreographers at 8:tension
Strong women at the ImpulsTanz festival
Saskia Hölbling and Doris Stelzer
Through reduction Stelzer wants to seek another depth and change perception: “For the current work I have analysed poses and the expression of the female image in advertising.” The idealised portrayals dominate the general understanding of the body. Stelzer’s precise studies are attempting to undermine these. In Shifted Views, the face of Lieve de Pourcq, the dancer, breaks up. Eyes, mouth and nose become independent of each other.
Andrea Amort, Kurier and tanznetz.de, July 27, 2007
Aesthetic studies of movement, supported by photographs, are at the core of the subtle premiere of Doris Stelzer’s "microscopic view" in the dietheater in Vienna.
First-class statements on an international standard
A choreographic delicacy