Alix Eynaudi dances, works and writes between craft & chaos in a (most of the time) joyful mess. She doesn’t work alone; any event, research, invitation is an alibi to spend time with accomplices, a mesh of friendships scintillating under skins, a stirring of a full-of-wonder support. She specializes in (deep) choreographic hanging out sessions.


Alix Eynaudi lives in Vienna. She was trained as a ballet dancer at the Paris Opéra, worked in various ballet companies before entering  PARTS in Brussels when the school first opened. In 1996, Alix joined Anne-Teresa De Keersmaeker’s company Rosas where she worked for 7 years. Since 2005 she has been creating numerous pieces, alone and in collaboration with other artists; Crystalll (2005) with Alice Chauchat, Supernatural (2008) and Long Long Short Long Short with Agata Maszkiewicz (2009), Exit (2011), a solo in which she puts the audience to sleep, a collaboration with Kris Verdonck. Then came Monique (2012), Edelweiss (2014), Chesterfield (2017).
In 2019 Alix received a research grant, PEEK, from the FWF (the Austrian Science Fund) for her project Noa & Snow, a gentle experiment between the everyday and the event. This project aimed at exploring the capacities of poetry to ignite imagination across several writing modes and genres in order to shed some light on the possible articulations between performance practices and writing practices. Although concomitant to the pandemic, this project lead to wonderful experiments of collective studies through the sharing of works, (digital) workspaces, as well as to many wonderful leakages of practices with co-researchers Paula Caspão, Quim Pujol and many others basking in dance as a space of study. Parallel to Noa & Snow, a piece was made, together with long term collaborators Mark Lorimer, An Breugelmans, Bruno Pocheron, Cécile Tonizzo, Paul Kotal and Hugo Le Brigand, called BRUNO (2021), a tribute to the light designer Bruno Pocheron.
Alix will soon start a cycle of studies around notions of Rest(s), being interested in complicating notions of rest as they are practised- reimagined, romanticised, allowed or disavowed – in ‘the age of performances’ (of the self): a choreography under the shades of our undergrowth, a dance in the shades that works to under-grow.

Fall 2022 will see Alix performing in Elizabeth Ward exploration of ivy’s properties in relationship to modern dance in Hedera helix, and the piece To Sing in The Wind, Pipes And Bones, A Dance Choral, commissioned by Tanzquartier for the project Parasol will premiere in December 2022. 

She continues to develop projects with other artists, both as a collaborator and as a performer i.e. Jennifer Lacey (Lieux Historiques), Anne Juren (Komposition, Tableaux Vivants), Boris Charmatz (Manger), Sabina Holzer (Fluvial), Elizabeth Ward (Hedera Helix), among others. He work has been presented in various international venues and contexts, such as Kaaitheater, Brussels, Xing, Bologna, Macro Museum, Roma, Biennale di Venezia, Cac, Vilnius, Tanzquartier Wien, brut Wien, Le Far, Nyon.

Alix’s artistic practice involves teaching e.g. .at PARTS, Brussels, ImPulsTanz, Vienna, HEAD, Geneva, La Manufacture, Lausanne, KASK (Performance), UGent (S :PAM), Tanzquartier, Vienna, festival Le Far, Nyon (CH).
She works alongside and is deeply indebted to Mark Lorimer, An Breugelmans, Cécile Tonizzo, Paula Caspão, Paul Kotal, Jennifer Lacey, Sabina Holzer, Quim Pujol, Jason Dodge, Lydia McGlinchey, Joachim Hamou, Raimundas Malašauskas, Anne Faucheret, Anne Juren, Bruno Pocheron, Alice Chauchat, Ujjwal Kanishka Uttkarsh, Mette Edvartsen, Litó Walkey, Frida Robles, Han-Gyeol Lie, Clara Amaral, Valentina Desideri, Christian Kosmas Mayer, Olia Sosnovkaya, Serena Lee, Elizabeth Ward, Han-Gyeol Lie, Virginie Bobin, Elizabeth Ward, Agnès Quackels, Silvia Fanti, Jacopo Lanteri, Samuel Feldhandler, Mzamo Nondlwana, Goda Budvytytė, Litó Walkey.