This event is wheelchair accessible.Fetching prices
In CARNOID, human and technical bodies encounter each other and negotiate their relationship to one another. Basel-based choreographer Fabrice Mazliah, known for his subtle, physical work, brings three performers and a car to the stage. In dialogue with a car—a controversial symbol of progress and power—a fragile interplay of closeness, vulnerability, and resistance emerges: Who penetrates whom, and where does fusion take place?
Together with Ophelia Young, Oleg Stepanov, and Jan Chris Pollert, three former dancers with Ballet Basel, Mazliah explores how humans and machines encounter each other in our time: touching, colliding, penetrating each other—and perhaps collapsing.
Premiere on February 27!
Biography
Swiss dancer Fabrice Mazliah has been working as a choreographer for over 20 years. His choreographies and performance installations explore processes of composing embodied thoughts and actions, including poetically reinventing the relationships between our environment, its objects, its atmospheres, language, and our bodies.
Born in Geneva in 1972, Fabrice Mazliah studied dance at the Geneva School of Dance, Brigitte Matteuzzi School, Rudra Béjart School in Lausanne, and The National School of Dance in Athens. He joined The Nederlands Dans Theater in 1994. Mazliah was for nearly two decades a member of Ballett Frankfurt/The Forsythe Company (1997–2015), directed by choreographer William Forsythe; there Mazliah cultivated his vision of choreographic collaboration and artistic research. He founded MAMAZA collective with Ioannis Mandafounis and May Zahry (2010–2014), HOOD ensemble at PACT Zollverein (2016–2018), the production platform Work of Act (2018), his work is supported by the verein Fabulous Things (2024) in Basel.
Mazliah’s work has been produced and shown internationally, including at the Swiss Dance Days; PACT Zollverein, Essen; Künstler*innenhaus Mousonturm, Frankfurt am Main; DeSingel Theater, Antwerp; Kunstenfestivaldesarts, Brussels; Lyon Opera Ballet; Théâtre de la Ville, Paris; and Venice Architecture Biennale. In 2024 Mazliah is artist in residence at the Künstler*innenhaus Mousonturm and at the Max Planck Institute for Empirical Aesthetics in Frankfurt.
His most recent works are embodying Bodies (2023), created for 6 dancers explores human and other-than-human entanglements through the Biological concept of the Symbiotic Holobiont, The Ends of Things, The Things of Ends 2024, for the dance company of Theater Basel, the work delves into the beauty of ends both in dance repertory and in recent history, SHEELA (2024), with six female performers that focusses entirely on their voices, their joint presence and the potential community that they unleash, In Cite In Site In Sight (2025), for the graduating students of KHIO in Oslo explores our entanglement—not metaphorically, but materially—through air, image, sound, memory, and matter, BONES (2025), in collaboration with Claude Janssen, an immersive performance, that interweaves analog, spiritual and digital media, making a sullen roar (as the wind does) 2025, Created especially for and with the Zurich based Kollektiv dance me to the end- composed of artists over the age of sixty, exploring movement and sounds through different emotional states.