Helena Franzén

Koreograf & dansare

The sharpness of emotion, the empathy of thought.

Helena Franzén is a choreographer devoted to the limitless variety and richness of movement – a choreographer whose work is characterized by her precision in quality and expression. Her work is often described with words such as “physical intelligence”, “motion-poetry with nerve and presence”, “… creates the articulated body’s poetry” – descriptions that clarify her place on the map of Swedish dance. The exact balance in a shift or how an arm trembles – this is what gives the choreography its communicative power.

There is in Helena Franzén’s work a thoughtfulness, a deliberate caution that creates rips in the flow of motion. That stops and transfers into a staccato, almost nervy, state. The choreography gives the experience of oscillating between frenetic activity and quiet reflection – of being in motion. A shoulder or a foot triggers an impulse that is contagious, changes direction and fades away. Elusive, dreamy and animalistic. Stealthy catlike movements that accentuate the dynamic and surprising.

The title of an artists work can often give a clue, be a sort of guide for the viewer. With Helena Franzén several titles raise an almost physical curiosity. Words and body in dialogue.

Trigger Point (2010) might be associated with acupuncture. When certain points on the body are activated they harmonize with another point, far from the one that hurts. Something starts in one place and have an unknown connection elsewhere.

Slipping Through My Fingers (2011) – the words are physical. We all have the visceral memory of holding onto something about to disappear. Water, sand, or maybe life itself.

Helena Franzén is a dancing choreographer who spends many hours in the studio exploring new movement material. In the interaction with the dancers and their ways to meet and interpret the movements, the material changes and becomes richer.

Deep familiarity and understanding of the material is paired with the dancers’ individuality.

The relationship between music and movement are fundamental in Helena Franzén’s choreographic work. Along with musician / composer Jukka Rintamäki she has created nearly ten works. Works that are permeated by a common dramaturgical thinking, where music and movement create intricate and complex meetings. Music and dance are given equal space. Jukka Rintamäki’s electro acoustic music gives an audiovisual room for the dancers and spectators to meet. A room where the emotional and associative experience can take place. Helena Franzén’s choreography is ambiguous and creates as many thoughts as feelings. The choreography creates the space for “the sharpness of emotion, the empathy of thought” to borrow the title of a Martha Nussbaum anthology.

The sharpness of emotion, the empathy of thought.

Helena Franzén is a choreographer devoted to the limitless variety and richness of movement – a choreographer whose work is characterized by her precision in quality and expression. Her work is often described with words such as “physical intelligence”, “motion-poetry with nerve and presence”, “… creates the articulated body’s poetry” – descriptions that clarify her place on the map of Swedish dance. The exact balance in a shift or how an arm trembles – this is what gives the choreography its communicative power.

There is in Helena Franzén’s work a thoughtfulness, a deliberate caution that creates rips in the flow of motion. That stops and transfers into a staccato, almost nervy, state. The choreography gives the experience of oscillating between frenetic activity and quiet reflection – of being in motion. A shoulder or a foot triggers an impulse that is contagious, changes direction and fades away. Elusive, dreamy and animalistic. Stealthy catlike movements that accentuate the dynamic and surprising.

The title of an artists work can often give a clue, be a sort of guide for the viewer. With Helena Franzén several titles raise an almost physical curiosity. Words and body in dialogue.

Trigger Point (2010) might be associated with acupuncture. When certain points on the body are activated they harmonize with another point, far from the one that hurts. Something starts in one place and have an unknown connection elsewhere.

Slipping Through My Fingers (2011) – the words are physical. We all have the visceral memory of holding onto something about to disappear. Water, sand, or maybe life itself.

Helena Franzén is a dancing choreographer who spends many hours in the studio exploring new movement material. In the interaction with the dancers and their ways to meet and interpret the movements, the material changes and becomes richer.

Deep familiarity and understanding of the material is paired with the dancers’ individuality.

The relationship between music and movement are fundamental in Helena Franzén’s choreographic work. Along with musician / composer Jukka Rintamäki she has created nearly ten works. Works that are permeated by a common dramaturgical thinking, where music and movement create intricate and complex meetings. Music and dance are given equal space. Jukka Rintamäki’s electro acoustic music gives an audiovisual room for the dancers and spectators to meet. A room where the emotional and associative experience can take place. Helena Franzén’s choreography is ambiguous and creates as many thoughts as feelings. The choreography creates the space for “the sharpness of emotion, the empathy of thought” to borrow the title of a Martha Nussbaum anthology.

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