Carcasse (2025)
„It’s been a while since I haven’t felt disgust, anger or hopelessness when reading the news.
I am surprised that these feelings, which many people probably share, are not expressed more clearly in the public debate.
As if they need to be suppressed. As if these feelings are the last taboo in our society, when all other taboos have already been torn down.
With CARCASSE, I want to create a place where the body is free to experience these emotions, to recognise them, to surrender to them completely, to move to their beat.”
(Léonard Engel)
How do we keep going when abjection wins?
When democracy crumbles?
When political hypocrisy reaches its peak?
When everything we once held sacred is desecrated and shattered?
When every emotion, every everyday gesture, is clouded by nausea?
In Carcasse, five performers confront the remains oftheir being. They inhabit a body whose structure is irrevocably marked—a corpse, a carcass, in which disgust and helplessness dictate every movement. How can this body be brought to dance? Oscillating between gentleness and fury, stupor and ecstasy, they paint a picture of a bleak present and an uncertain future.
Premiere 04.04.2025, schwere reiter (Munich, GER)
Concept and Choreography Léonard Engel
By and with Gizem Aksu, Tasha Hess-Neustadt, Jin Lee, Mikael Marklund & Tian Rotteveel
Costum Design Carla Renée Loose
Light Design Emilio Cordero Checa
Production Management Elsa Büsing
Music Tian Rotteveel
on music by Chris Watson, Chuquimamani-Condori, Jockstrap,Antonio Vivaldi, Chuck Berry, Anna Meredith
Pictures Gabriela Neeb
Duration 50 min
A production by Léonard Engel, funded by the Departments of Arts and Culture of the City of Munich.
With the friendly support of schwere reiter and Tanztendenz München e.V.
Images
Videos
Critics
Right before the audience’s eyes, a strikingly vivid end-time scenario unfolds—with no attempt at offering answers or solutions to this state of utter powerlessness. Instead, the choreographer confronts viewers with a panopticon of broken, exhausted, nearly lifeless figures.
Engel draws a shockingly grim psychological portrait. […] Individually and together, [the performers] appear so disturbingly broken that watching them feels like a chokehold.
Vesna Mlakar, “Verfall des Ichs“, Abendzeitung, tanznetz.de