SKINNED – Theatre / Mirjam Gurtner


Artistic direction: Mirjam Gurtner

Creation/original cast: Christopher Owen, Sindri Runudde, Valentina Wong, Mirjam Gurtner 

Performance: Sophie Arstall, Diethild Meier, Christopher Owen, Mirjam Gurtner

Dramaturgy: Luke Pell

Sound Design / Stage: Lisa Premke, Fabrizio di Salvo

Sound: Lisa Premke, Michael Thomas

Lighting Design: Jérôme Bueche

Lighting: Pablo Weber Fernandez

Costume Design: Jacqueline Loekito  

Producer: Pascal Moor / Spring Production

Production assistance: Flora Nacer / Sarah Schoch

Photos © Oliver Look

Co-produced by Theater Roxy Birsfelden

Running time: 60min

Kindly supported by Fachausschuss Tanz und Theater BS/BL, Pro Helvetia, Stanley Thomas Johnson Stiftung, Fondation Nestlé pour l’Art, Société Suisse des Auteurs, Sulger-Stiftung, Ernst Göhner Stiftung, Jacqueline Spengler Stiftung, Scheidegger-Thommen-Stiftung.


Premiere 14 October 2018, Theater Roxy Birsfelden/Basel                                            

16/17/19/21 October 2018, Theater Roxy Birsfelden/Basel   

9 and 11 January 2019, Tanztage 2019, Sophiensaele Berlin


3Sat Kulturzeit:


SKINNED REVIEW at basellandschaftliche Zeitung:

Mirjam's website

In SKINNED the dancers surrender to losing safety. They search for the potential that lies within this moment and the chance to get to know ourselves differently. Playing with the desire for control, they explore exposure as a creative act. How much are we ready to reveal? Sensory perception and improvisation are starting points for the creation of movement, as the dancers shift between intuition and instant composition. The raw sounds of their movement, touch and breath are recorded live and woven into the raw fabric of the piece, creating an intimate experience for the audience. 

SKINNED deals with loss of safety in content and form. Confronting the unfamiliar and thus departing from a state of not-knowing, SKINNED looks at risk-taking and our desire for control. The movement research is based on structured improvisation, the dancers act between the polar priorities of intuition and composition. Sensation is used as a starting point for the creation of movement beyond habitual movement patterns. The skin delineating the border between self and world is subject of the physical research. The movement qualities of day-to-day actions are examined. The piece is staged in close proximity to the audience, stage and auditorium fuse into one. The sounds of the dancers’ bodies, their movement, touch and breath are recorded live and woven into the raw fabric of the piece.

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