“If Morticia’s languor and Wednesday’s blankness are gothic versions of Yvonne Rainer’s “neutral doer,” then It doesn’t go without saying might well be their spectral descendant.”

Image credit Collage composed of a night photograph of the National Dance Centre Bucharest (CNDB), taken after a performance of Fiction Fiction at the French Institute Atrium within The institution of performance (curated by Adriana Gheorghe, produced by Teatre/Theatres); rehearsal images of Ray Scheinecker and Elizabeth Ward, photographed during OIL, a site-specific experiment for Tanzquartier Wien by Isabel Lewis and Dirk Bell; a portrait of Alix Eynaudi photographed by Markus Krottendorfer during Wearing the walls, a performative exhibition by Alix Eynaudi and Christian Kosmas Mayer at Blickle Raum, wearing a dress by An Breugelmans originally made for Edelweiss (2014); a detail of Alix Eynaudi’s hand holding a smoketree leaf found on Martinstrasse, Vienna; and a still from The Addams family goes to school (1964), showing a cage in the foreground and a crow released into the sky, with the fragment and gloomy retained from the original caption “We like it. It’s nice and gloomy.”

16–18 April 2026 — Tanzquartier Wien
29–30 October 2026 — Kaaitheater, Brussels

it doesn’t go without saying (& other gossips)

it doesn’t go without saying (& other gossips) is a performance project by Alix Eynaudi and Elizabeth Ward that investigates the legacy of U.S. postmodern dance through oral history, interviews, and embodied research. Centering the work of lesser-known choreographer Cathy Weis, and the often overlooked influence of Authentic Movement, the project examines how dance histories are transmitted, forgotten, or selectively preserved.

Performed by Alix Eynaudi, Elizabeth Ward, and Ray Scheinecker, the piece weaves movement, sound, and storytelling to foreground gaps, biases, and silences within dance archives. Paul Kotal’s sound design works with recorded and live voices — including Cathy Weis, the performers, and invited guests — creating a layered sonic space in which testimony, memory, and speculation coexist.

Audio Description is integrated into the dramaturgy as an artistic layer, developed for all audiences rather than as an auxiliary tool. Light design by Lukas Kötz and costumes by Isabelle Edi contribute to an environment that supports attention, listening, and the circulation of embodied knowledge. Together, the work reflects on archiving, accessibility, and the collective conditions through which dance histories are made — and unmade.

Contributors:
Bears in the Park (Wien, Austria), Residency Partner
Cathy Weis / WeisAcres (NYC), Partnership
Cathy Weis, Voices
Elizabeth Ward, Concept & On Stage
Federal Ministry for Housing, Arts, Culture, Media and Sport (BMWKMS), Support
Isabelle Edi, Costumes
Kunstencentrum BUDA (Kortrijk, Belgium), Residency Partner
Kaaitheater (Brussels, Belgium), Coproducer
Lukas Kötz, Light Design
mollusca productions, Production
Paul Kotal, Sound Design
Ray Scheinecker, On Stage & Voices
Stadt Wien – Kulturabteilung (MA 7), Support
TAKELAGE, Administration
Tanzquartier Wien, Coproducer
Alix Eynaudi, Concept & On Stage

 

Performances
16–18 April 2026 — Tanzquartier Wien
29–30 October 2026 — Kaaitheater, Brussels