Spoken language is always accompanied by gestures. We emphasize our words or soften them, we extend their meaning or brush it off. The silent contract between language and movement is the subject of 

How do we use the body as a conduit for language? Under what circumstances must the body act out, adjust, or contradict language? And what do you do with variable interpretations of words?

Etymology studies where words come from and how meanings change through use. Berger Myhre uses this to show how language moves, almost like a dance. With humour and wits, she explores how our bodies experience language, literal and figurative meanings, how words shift, thoughts connect and puns emerge.

This research is in development throughout 2025. 

Research and direction: Ingrid Berger Myhre 

Developed in collaboration with: Yuhan Ashley Ho, Calvin Carrier, Hilde Ingeborg Sandvold, Jonathan Starr, Fie Dam Mygind, Saga Ivéus Wenglert. 

Outside eyes: Sara Manente, Geert Belpaeme.

Residencies: STUK, Leuven (BE), Bora Bora, Aarhus (DK), Marres Maastricht (NL)

Supported by: Au Jus, Brussels (BE), I Am Undone (NO), Dansateliers Rotterdam (NL)

Production and project manager

Caravan Production

Artistic

Instagram

For bookings or anything else, feel free to drop us a line:

Ingrid Berger Myhre

Vlaamse Gemeenschap

Ingrid Berger Myhre is a Norwegian dance artist based in Brussels. She holds a master’s degree in choreography, research, and performance. As a former amateur percussionist, she is now considering whether to make a comeback or retire completely.

Composer and musician Lasse Passage began studying composition at the Grieg Academy in Bergen and completed his bachelor’s degree in sonology (the study of sound) at the Royal Conservatory in The Hague. His practice as a singer-songwriter wonderfully complicates his already diverse musical identity.

Ingrid and Lasse have different experiences and perspectives, but they share a space for negotiations that arise when they meet at the periphery of their own expertise. As a result, 

 is a performance that takes refreshing liberties as it slides between a wide range of genres: from erotic radio dramas to hubris lectures and ruthless one-man bands.

Choreography: Ingrid Berger Myhre and Lasse Passage

Music: Lasse Passage and Ingrid Berger Myhre

Dramaturgical advice: Ann-Christin Berg Kongsness

Co-production: BIT Teatergarasjen (NO), Rosendal Teater (NO), Dansateliers Rotterdam (NL), Davvi Senter for Scenekunst (NO),

Residencies: Kunstencentrum BUDA (BE), Bunker (SI), DansiT (NO), Uferstudios / Tanzfabriek Berlin (DE). Takk til Bibalohuset for arbeidsro(m).

Supported by: Arts Council Norway, Fond for Lyd og Bilde, Norwegian Ministry of Foreign Affairs, Advancing Performing Arts Project (apap) - FEMINIST FUTURES - a project co-funded by the Creative Europe Program of the European Union

advancing performing arts project

Fonds Podiumkunsten

Fond for Lyd og Bilde

Art Council Norway

Pahn

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."

Eline Bjerkan

"It is precisely the revealing and heartfelt nature of creating art that Myhre and Passage succeed in conveying, in addition to all its peculiar practicalities."

“No Dreams, No Gold is a sweet and witty performance about human beings digging for creativity. (…) There’s a drive in the performance that takes us seamlessly from the everyday and clumsy to a nerdy, almost philosophical look at artistic production.”

Charlotte Myrbråten

"The performance is naïve in expression and philosophical in style, without being pompous. (…) The stage language is implemented in all its variety. No Dreams, No Gold is not a spectacular performance that blows you away, but the pedestrian style and the low-key tone charms and convinces. It's sweet and entertaining, varied and effortless.”

No Dreams, No Gold

Trailer

In rehearsal

Terms & Conditions

With each move, they peek into the immediate future, attempting to avoid the pitfalls of individual whims and stringent collectivism. By being loyal to the game rules, they risk steering into walls, hopelessly going in circles, missing their marks. By being loyal to their individual ideas, they risk sabotaging the collective effort. This productive dilemma drives the work forward.


The goal is to build the piece in real-time. Everything becomes material, as movement trajectories are woven thanks to coincidence and careful considerations. And as the map is drawn, the mysteries unfold.


Every next frame is the result of a previous stepping stone. 

Each stone carries the baggage of the ones before. 

In con-sequence, they spell out both the obvious and the magical:

The next step, the next room, the next door- continuously leaving one space to make another appear.

In collaboration with: Nicola Gunn and Ida Wigdel

Performed by: Ida Wigdel, Nicola Gunn/Hilde Ingeborg Sandvold and Ingrid Berger Myhre

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

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

Kulturrådet

Flanders State og the Arts

Vlaanderen

Michael Voiturier

“The choreographer Myhre, part of the trio, looks at ways of translating into action how a spectacle is constructed and how its components makes up a coherent whole. It’s not really dance, nor mime. Gestures and positions solely produce signifiers without signified, even implicitely."

Javier López Piñón

"The humorous ideas and incongruous transitions in this performance stimulate the imagination and enhance observational skills. They also elicit a smile"


Oonagh Ducksworth

“Watching Ingrid Berger Myhre’s ‘Spelling Spectacle’ was to revel in feather light, artfully dosed slapstick humour laced though a rigorously ‘contemporised’ precept. A beautiful and seriously witty antidote to the over-garnished commercial Christmas circus ‘magic’ blaring outside. (...) Riveting, funny and frustrating all at the same time, it’s like the best of parlour games.“ 

Marina Sranka

"In this simple game that unites the past and the future, our search for meaning is relativized in an endless flux of possibilities. (...) A clever and genuinely funny play with choreographic and narrative devices that toys with audience expectations."

Spelling Spectacle

Meteor Festival 2023, BIT Teatergarasjen, Bergen (NO)

Interview

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.”

Marina Srnka

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.” 


With serene joyfulness, alongside her fellow co-performers Pablo Esbert Lilienfeld, Chloe Chignell and Thomas Bîrzan, Berger Myhre refreshes the contemporary dance stage with a simple but witty performance where words dance, and bodies articulate our imagination.

“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

Behind the scenes

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.”

Der Standard, Kultur, AU

“Berger Myhre and Passage use this premise with unpretentious charm to stage a sophisticated show in which the dancer and the musician also swap roles. (...) Here it becomes clear that intelligence and wits simply belong together.”

Panflutes and Paperwork

Teaser

Interview 

The solo works with dance, a handful of objects and projected text describing the situations that unfold in front of the audience. The text proposes cheeky and challenges the way we read and project meaning onto things and events. Weaving layers of interpretation, 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

Terms
&
Conditions
2025Research

Previously

Terms&Conditions2025Research

Previously

Terms
&
Conditions
2025Research