The artist is at the heart of my choreographic work.

Where do his individual strengths lie, his beauty, his quality of movement?
What inspires me about him or her?

The paths that lead to the final choreography are never the same.
They are as different as the people with whom I begin this journey.
However, the aim is always the same:
A performance that the artist himself continues to enjoy evening upon evening, a performance which moves the audience and remains in their thoughts on account of its uniqueness.

In most cases, the payment is effected in a lump-sum and the choreography is finished when those involved are in agreement with this.
If a certain deadline is urgent, it is also possible to work more compactly and intensively.
In addition, there is the alternative to work on an hourly basis to 'polish' an existing performance.

choreographies 2003 - 2008 (chronologic)

Marie Jimenez (trapez, rope)

Ben von Dobeneck (german wheel)

Andrei und Ben(artner acrobatics, rope acrobatics)

Eva Klapp (trapez)

Lena Gutschank(aerial ring)

Fernando & Serafina

club juggling, ball juggling, book & ball juggling)

Isabell Anobian (trapez)

Andrei Bach (flying silk)

Gregor Wollny (comedy)

Equilibre(partner handstand)

Maik M Paulsen (comedy juggling)

Elizabeth Williams (tissue)

Die Mimusen (mime,slapstick)

Frost (robe)

Jan Becker ( mindreader soloshow)

Agnieszka (rope)

Tom Sparks(ball juggling, club juggling)

Duo Elja(partner trapez)

Meike Silja(trapez)

Maria Lutz (aerial ring)

Tom Birringer (roue cyr)

Ron Kross (tissue)


Working with Michael on our choreography was a big step for us in developing stage presence, and including our own individual aesthetics in the characters we portray. He used his great ability for finding features of the characters which were not so obvious, but an important part of them. He found them, brought them to the surface, and showed us how to set them in the scene.

He helped us find a way to show how we could create a joyful choreography, and include our artistic skills in an authentic and creative way of acting. It is especially important to him that the performer remains true to him/her self. To accomplish this he worked sensitively, but he also did understand how to challenge us, so that we could find our own potential and were able to use it.
Without pressure he let a combination of ideas grow, and he understood how to realize them with subtlety and a reliable sense of style.Fernando & Serafina