In 2019 Ingrid and Lasse made the performance Panflutes and Paperwork. Since the premiere at Theater Rotterdam it has been shown all over Europe. No Dreams, No Gold is their next stage production and takes trust and courage as thematic starting points for the performance: When does courageous amateurism become naive bravery? Can the promise of trust be an encouragement to fail confidently?


Ingrid and Lasse have different experience and perspective, but share the space of negotiation that arise when meeting in the periphery of their own expertise. Their friendship is an intrinsic part of their artistic material, which makes the work highly personal yet down to earth. With warmth and humor they contemplate the conventions in the performing arts, in order to learn more about what a choreographic language can contain. 

Performance: Ingrid Berger Myhre and Lasse Passage

Music: Lasse Passage and Ingrid Berger Myhre

Co-production: Kunstencentrum BUDA, Dansateliers Rotterdam, Bunker Ljubljana

Research residencies: DansiT, Davvi Senter for Scenekunst, Uferstudios / Tanzfabriek Berlin

With the support of: Advancing Performing Arts Project (apap) - FEMINIST FUTURES - a project co-funded by the Creative Europe Program of the European Union

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Ingrid Berger Myhre

advancing performing arts project

Fonds Podiumkunsten

A cheap horse is rare
What is rare is expensive
A cheap horse is expensive

With “if, then” as undercurrent, the piece asks what a choreographic train of thought can be or look like. What conditions the following, and how? According to which givens does something make sense? And what does that say about the backdrop of our reading?

The alliterative words in the title Spelling Spectacle share a twofold meaning. They both evoke a sense of magic, in addition to their literary sense of reading or seeing: to spell as in decoding, or a spell as in a magical formula. A spectacle as something to be seen, and spectacles as something one sees through.

In collaboration with: Nicola Gunn and Ida Wigdel

Performed by: Nicola Gunn, Ida Wigdel and Ingrid Berger Myhre

Design assistance/styling: Carly Rae Heathcote

Thanks to: Pablo Esbert Lilienfeld, Yuhan Ashley Ho, Calvin Ferdinando Carrier, Hilde Ingeborg Sandvold

Co-production: Kunstencentrum BUDA, BIT Teatergarasjen, Rosendal Teater, Dansateliers Rotterdam

Residencies: STUK kunstencentrum, Pianofabriek, Kaaitheatre, Kunstencentrum KAAP, Tanzfabriek Üferstudios Berlin 

Financed by: Arts Council Norway, Fond for Lyd og Bilde, Vlaamse Gemeenschap

Supported by: Advancing Performing Arts Project (apap) - FEMINIST FUTURES - a project co-funded by the Creative Europe Program of the European Union

Kulturrådet

Fond for Lyd og Bilde

Flanders State og the Arts

Vlaanderen

Spelling Spectacle

In rehearsal

Claire Lefèvre

"Seeing your work with Lasse Passage last night, I felt delighted that you found a partner in crime. I thought about my closest friends and collaborators, and what a joy it is to find people who trust you, who see what you see, people who might say "ok I can't believe I'm doing this but if you believe it's great, I trust you.""

No Dreams, No Gold

With the stage as page, the choreographic writing unfolds a physical discourse with its own syntax, grammar and vocabulary. But what conditions these dance utterances? And what does it mean to read dance? In other words, if we are not seeking meaning, how do we sense the making of sense when watching this dance?

Choreography: Ingrid Berger Myhre in collaboration with Pablo Esbert Lilienfeld, Chloe Chignell and Thomas Bîrzan 

Performed by Pablo Esbert Lilienfeld, Chloe Chignell, Thomas Bîrzan/Calvin Ferdinando Carrier and Ingrid Berger Myhre 

Funded by Arts Council Norway, Fond for Lyd og Bilde, The Flemish Community Commission (VGC) 

Co-production: Black Box Teater Oslo, SPRING Festival, Dansateliers Rotterdam, MDT Stockholm

Residencies: Kunstencentrum BUDA, Dansateliers Rotterdam, Kunstencentrum KAAP, STUK Kunstencentrum, Pianofabriek 

Supported by Advancing Performing Arts Project (apap) and P.A.R.T.S. Research Studios ’17-’18

STIKK

Fransien van der Putt

"The performance beautifully shows how relative the truth of the moving body is, and how bound it normally is to the frameworks of language. ...imagination and representation become an ingenious and cheerful game in In Other Words, in which perspectives and relationships can be blown up to enormous proportions. then to end up as a micro world in the palm of a hand.”

Jordi Ribot Thunnissen

"Choreographic wit comes supported by a swift dramaturgic rhythm, composing their experiments around dance and language (…) This plane is the dancers’s playground in In Other Words. And they certainly do play.”


“…imagination and representation become an ingenious and cheerful game in In Other Words, in which perspectives and relationships can be blown up to enormous proportions, then to end up as a micro world in the palm of a hand.”

Julie Rongved Amundsen

“The project is sympathetic, there is a generally good and light atmosphere in the room. It is pleasant to be there, and several of the sequences are genuinely festive.” 


“While clichés like ‘dance is the language of the soul’ continue to burden us with the idea that moving, feeling and thinking are separate phenomena, dance lives on as a very articulate and – also rationally – clever language. (…) This plane is the dancers’s playground in In Other Words. And they certainly do play.”

In Other Words

Trailer

Behind the scenes

Interview

The title of their duet alludes to the contrast between the wet and the dry: Panflutes, on the one hand, are playful and passionate, Paperwork, on the other, refers to notation and sounds bureaucratic. The tensions between these states play well with tired conventions in the famous choreographer-composer constellation. With both tools at hand, Ingrid and Lasse invent games that re-negotiate their rule.

Performance: Ingrid Berger Myhre and Lasse Passage 

Music: Lasse Passage and Ingrid Berger Myhre 

Co-production: Dansateliers Rotterdam, Black Box Teater, CSC Bassano Del Grappa, WP Zimmer

Supported by P.A.R.T.S., Rimi/Imir Senter for Scenekunst, Moving Futures Festival, FPK Nieuwe Makers Regeling, Caravan Production

Ministry of Foreign Affairs

Aerowaves

Annette Embrechts

"The Norwegian Berger Myhre, educated in Amsterdam and Brussels, seems to own this type of dry humor as an inherent part of her dance works.You have to like it (...). It is at the same time laughable and sweet, as they try to share everything (even each other’s talent) in this small hour full of playfully performed nonsense-games."

Ingrid de Vries

Claire Lefevre

"Seeing your work with Lasse Passage last night for the opening of imagetanz made me feel nostalgic and weirdly proud, and mostly happy that you keep making works in which apparent simplicity is backed up by carefully composed scores.”

Nina Helene Skogli

“I’m reluctant to describe the performance as “feel-good”, in lack of better words. It mustn’t be misunderstood as light-hearted entertainment, because Panflutes and Paperwork comes across as an interested study with a pronounced purpose.” 

Frøydis Århus

"...we as audience are offered a nice balance of feel good, poetic images and musicality on a high level."


“It felt good to see something succeeding in being humorous, heartfelt and serious at the same time."

Angela Heide

“Panflutes and Paperwork is a captivatingly light-footed and at the same time introducing all the depths (…) about the complexity of any relationship apart from rigid rules.”

Dance For you Magazine, DE

"(...)in their absolutely rhythmical, humourous, unpretensious and wonderfully playful duo “Panflutes and Paperwork”, a lot of things are new: the relationship between music and dance, from movement in its theatrical reading and scores, from methodical craft and expression.”

Panflutes and Paperwork

Teaser

Interview 

Working with text and gesture, she proposes cheeky takes on the way we read and project meaning onto things and events. Weaving layers of subtext, pretext and context, the performance unpacks and moves through a network of sign and symbols like in a dot-to-dot-game – with subtle plot twists that leave the audience to fill in the blanks.

Choreography and performance: Ingrid Berger Myhre 

Technical development and visuals: Sigurd-Ytre-Arne 

Light design and scenography: Edwin Kolpa 

Visual research and advise: Jenny Berger Myhre 

Co-production: Dansateliers Rotterdam, Working Art Space and Production, 4 Culture

Supported by: Norwegian Ministry of Foreign Affairs 

Donald Hutera

“Thinking outside the box and, literally, off the stage, she breaks the fourth wall with an insouciant, subtly daring charm. Such playful, evanescent work brings fresh, extended grace-notes of light and optimism to a dance world often characterised by miserablist pretensions. Adorable.”

"With witty dramaturgical tricks up her sleeve, Ingrid spells out exactly what is about to happen yet always manages to defy our expectations. Blanks is poetic, fresh and most definitely timely."

Dick van Teylingen

"Blanks is a witty performance. Dance that relativises itself: it’s possible. (...) go and see it: this is dance with a smile."

Rathsaran Sireekan

“The void of any textual description or the overwhelming presence of it is aptly mobilized to create “distance” between the spectators and what we see in front of us. By doing so, Myhre not only empties out any ideological framing usually attached in the act of seeing and frees us from any political affiliation we are usually made to subscribe to unknowingly. She also gives us back our ability to think critically about what is unfolding in front of us.”

Henri Guette

“Like a magician Ingrid Berger Myhre plays the accessories to give rhythm to her entrances and exists. In BLANKS, everything turns into celebration and astonishment, even the ordinary.”

Fanny Brancourt

"One perceives in this young woman a vital acuity. (...) Everything is written and strongly thought about."

"Myhre tricked us into inventing the piece we each desired to witness. By leaving enough space and time for us to imagine what was coming next, whatever she then proposed came across as unexpected. The result was simple and generous, and seemed to reach a delicate balance between guidance and freedom."

Ingrid Berger Myhre

No
Dreams,
No
Gold
2023Research

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NoDreams,NoGold2023Research

Upcoming

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No
Dreams,
No
Gold
2023Research