Ellen Kilsgaard er freelance dansekunstner specialiseret i improvisatoriske processer og interaktivitet i performance. Ellen har arbejdet med en bred vifte af forestillingsprojekter med målgrupper helt fra børn i indskolingen til ældre på plejehjem. Desuden arbejder hun som underviser.
Ellen Kilsgaard’s kunstneriske virke centrer sig omking koreografisk praksis, hvor danserens nærvær og empati i tæt forbindelse med det tekniske håndværk, tegner den kunstneriske form. Hun er optaget af danserens samspil med publikums sanselige kroppe, både hver enkelt krop og publikum, der som gruppe danner en ‘fælles krop’.
Hun studerede først dans og koreografi på School for New Dance Development, NL (1995 -1999), og har en MA med udmærkelse fra Dartington College of Arts, (nu Falmouth Univeristy College), UK, 2008. Hun har desuden studerent den indiske kampsport Kalaripayatt. Hun var ‘artist in residence’ ved Dagdha Dance Company, Limerick, Ireland, i sæsonen 2008-2009. Hun har siden 2010 base i København.
Ellen Kilsgaard is a dance artist specialised in improvisation and interactivity. She has created performance for all ages, from total!dans! for children 1.-3. grade to elders in carehomes. Furthermore she works as teacher.
Ellen Kilsgaard’s artistic practice is centred around a pratice where the dancers presence and empaty is closely interlinked with technique, and shapes the artistic form. She is occupied with the dancers interplay with the sensitive bodies of the audience , every individuals body and the audience taht as group form a collective body.
She first studied dance at School for New Dance Development (1995 -1999), and holds an MA with distinction from Dartington College of Arts, (now Falmouth Univeristy College), UK, 2008. Furthermore she studied the Indian martial art Kalaripayatt. She was artist in residence at Dagdha Dance Company, Limerick, Ireland, in the season 2008-2009. Since 2010 she is based in Copenhagen.
About Ellen by David Williams (reader in Performance Practices, UK)
'Ellen Kilsgaard's academic writing focuses on questions of present-ness, attention, perception in an embodied practice, and explores the ethical implications of an opening towards ‘otherness’, both internally and in relation to performance as social forum. She is consistently articulate, inquisitive and creative in her thinking.
Her practice, both as solo practitioner and as collaborator, is remarkable for its sensitivities, adventurousness, detail, and the invitations it affords to spectators. She is extremely engaging in live performance, drawing and meeting one’s attention with a quality I can only describe in terms of lightness, generosity and compassion. The quality of attention she brings to her collaborators is self-evident, palpable.
It is perhaps informative that her experiences to date include projects with Deborah Hay and the study of the martial art Kalaripayattu in Kerala, S. India; in very different ways, both propose attunement to an amplified attentiveness and the possibility of a radical present-ness.
As a performer, she is also naturally very funny, with a remarkable capacity to shift the register of a performance fluidly into and out of the comic, the pensive, the theatrical, the dynamically still.'