472:, premiered by 13 dance students at the West Sussex Institute of Higher Education (now University College Chichester), and later performed by Divas, at the Zap in 1989. It took the form of a German language lesson, in which gender-based phrases, spoken by a sampled female voice, revealed sexism in the language and the patriarchal nature of the culture. The phrases included 'InterCity is the train for men,' and 'The orchid in the plastic carton is the flower for ladies' Julia Pascal in her Guardian review wrote that 'Movement is staccato, grotesque and funny. Dann Geht sie Einkaufen â Hausfrau und Mutter (then she goes shopping housewife and mother) is a woman in a crab position walking backwards and forwards on palms and feet; the endless repetitive work action delivered dead pan was answered with female laughs of recognition.'
865:, combining footage of real Brighton beach life with staged Guerilla style interventions. Dorothy Max Prior in Total Theatre described the film as 'a very artful and cunning mix of staged set-pieces and real-life action, so deftly edited that unless you are in the know and spot the performers, it is hard to distinguish the plants from the real-live city folk.... in tandem with Joe Murray, she moves away from Expressionism into a crisper and sharper Hyperrealism. Aggiss and Murray apparently spent many, many weeks filming on Brighton beach at all hours of the day and night. Hours and hours of footage are distilled down into a 20-minute film that is an homage to the city that never sleeps (unless itâs face down on a sodden handbag, or comatose and sun-bleached like a beached whale on the pebbles).'
501:, made in 1988 for London's Extemporary Dance Theatre. This was a bridal dance performed, on the front apron of the stage, by seven androgynous brides dressed in slate grey satin, who become 'a nightmare anarchic anti-chorus line.' Allen Robertson in Time Out wrote, "Your response to the bitter, bizarre bridal dance 'Dead Steps' will depend on your tolerance for deliberately ugly cabaret pastiche with an S&M undercurrent. Alienation and humiliation are Aggiss' watchwords. Clad in metallic floor length gowns with kohl eyes, white faces and mouths like red scars, the dancers perform either in unison distortions or anti-erotic displays of the flesh. Itâs a sometimes fascinating, ultimately dissatisfying work, and not nearly as powerful as Aggissâs solo Grotesque Dancer."
627:, two of the Thatchers performed en pointe a choreographed rubbish distribution and collection scheme, inspired by a Thatcher photo opportunity where she picked up litter which had been deliberately scattered before her arrival. The work premiered on 22 November 1990, the very evening Thatcher resigned. The final section was 'swiftly reworked with a wall of Maggies transforming into five John Majors still intoning relentlessly from Thatcher's speeches.' The show was then taken to France, where it was reviewed by Sylvie Sueron: 'Margaret Thatcher is minced up; her gestures, her sayings are deconstructed in self contained sections....Five dancers in strict suits and black stillettos bring to life the authentic stroboscopic qualities of a grating English prime minister.'
771:(2003), a 3D film installation piece which premiered at the ICA. It comprised 'four square holes cut into a wall each containing a man â projected life size or a little bigger â of cutely exaggerated different nationalities. In over-the-top German accent Thomas Kampe rants and rails, munches on a sausage and sweetly sings. Sebastian Gonzales recalls beloved Spanish customs with tension and flair, Anglo-Asian Jeddi Bassan wimpers and pompously prattles while American Scott Smith is casual and crumpled â a soft and sensitive post-beatnik. Changing background scenery places the men in different settings....Affected by the 3D imaging, the wall becomes a fragile, vulnerable mid-space, in which the men are locked between the viewer and the distant background scenery.'
1059:, Aggiss wore silver slippers and a gorgeous old-gold party dress.' The second act, on the adult woman, began with her wearing 'a chic New Vogue black-and-white dress, striking high fashion poses' and ended with 'a genuinely disturbing turn with a misshapen puppet, which Aggiss dangles from a noose over her shoulder as she describes the journey of a woman who experiences pregnancy, abortion, childbirth and bad motherhood.' The third act, on the older woman, ended with her 'crawling on all fours to 'Smack My Bitch Up', bare-arsed with a pony tail waving over her bum, a faint sly smile playing over her lips.'. Dorothy Max Prior described the ending as 'a fabulous moment of emancipation and celebration of the older female body.'
655:, first performed at the Zap in 1994, was described by Aggiss as 'stand-up dance'. She performed alone on stage without lighting, music or special effects. It was a piece 'about language about the playfulness of words....(comprising) 11 short scenes of grammatical curiosities.' The piece opened with Aggiss, in a silver minidress, saying the word 'my' 79 times in different ways. It was also a comic striptease, in which Aggiss, punning on 'bear' and 'bare', removed a series of pairs of knickers, each time revealing another pair underneath. Deborah Levy wrote that 'Cowie's extremely skilled text works with Aggiss's dynamic performing presence with complete synergy; in fact,
318:, Aggiss and Cowie described how they worked together: 'All our work is truly collaborative....After the first few productions, whichever of us was feeling most inspired would take up the choreographic baton and run with it until we were floored by the other's barbed, critical and caustic comments. Latterly we pragmatically sliced up the works into manageable chunks and negotiated who would do which aspects of the 'steps' as we like to call them. Strangely the Yin/Yang combination of Aggiss, the 'stand up dancer' who can actually perform the movements, and Cowie the 'armchair choreographer' who can only dream them, works surprisingly well.'
1073:'a wilfully raucous, often unnerving meditation on the reductive labels that limit the development and growth of girls. Itâs also an impassioned plea for visibility, a space for recognising the sexuality and agency of older women.'. Mary Brennan described it as a 'glorious broadside against the social mores that pigeon-hole women of all ages....The hilarious tickle never undermines the serious slap in this solo.'. For Lyn Gardner, the show was a 'pointed and bawdily funny exploration of what it means to refuse to act your age' Sarah Kent argued that the piece was 'more personal, more pertinent and far more potent' than
1203:(2019), another commission for older dancers, was created for the Mature Artists Dance Experience (MADE) of Hobart, Tasmania. Reviewing the first performance, Lesley Graham wrote, "Flossing and farting along with mysteriously moving curtains are par for the course. As the performers taunt: âWe are watching you watching us, so watch out!â....Seriously funny, and verging on anarchic, this work shows that growing older doesnât have to be graceful, and is an extension of lives being well lived." The show, postponed for four years due to Covid, was restaged by Aggiss at the Theatre Royal Tasmania in 2023.
445:, which premiered at the Chisenhale Dance Space London on 4 October 1986. In the show, eight dancers, in suits and high heels, used pedestrian, habitual and repetitive gestures. Looking back in 1993, Sophie Constanti described Divas as a 'crew of besuited, stiletto wearing Brighton women, whose otherwise unconventional appearance was intensified by the scowling, hard-edge non-conformity of Aggissâs brand of movement theatre.' Constanti also reviewed the show at the time: 'Jaunty, hypnotic, silently provocative and defiant, Divas are a refreshing assault on mainstream dance.'
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the Czech dance critic, described the impact: 'During the interval or before the performance, when people usually shift in their seats switching off cells and finishing sandwiches, she stepped onto the scene and speaking through a megaphone claimed our attention. As we calmed down, each time more eagerly, she rewarded us with short cartoon sketches from the history of dance....We could see only a few scraps from this treasure but there is no doubt that this
Vivienne Westwood of dance is a living jewel of the United Kingdom.'
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286:, which she later described as 'a bleak English suburb during post war austerity. Where little children were seen and not heard.' Her love of music hall came from her grandmother, who used to sing to her a whole range of music hall songs: 'These were gifts. Through a kind of memory osmosis I have both fascination and knowledge of music hall....I also have a direct familial lineage to early music hall and performance in my great Auntie Flo aka Marjorie Irvine.'
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objects....In between, she recalls critical reactions to her early shows, cranks her limbs into puppetty jerks, rants and raps to club and rock rhythms, air-guitars her fingers in front of her crotch. Peel away your lifelong accretions of self and society, she seems to say, and you find fights and philosophising, you find odours, body hair and saggy skin, and you find a hot, sweaty soul that is not pretty, but is punchy â and a force of life.'
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1000:, wove 'together his own quirky compositions with a whole raft of found sound, classical piano...and pop classics.' There were live musical numbers, in which Aggiss reframed 'The Dead Kennedys' best-known song into a jazzy number about rolling into bed too tired to copulate, and another about the pleasures of the female orgasm.' At the end, the whole audience was invited onstage for 'a jolly Essex knees up'.
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phrases, all encompassed within a very long, drawn-out strip tease of sorts. She ends up in a blonde wig Ă la Marie-Antoinette via Uranus, and a flesh-tone leotard with (artificial) nipples, pubic hair and labia on display. You canât take your eyes off her though. Sheâs charismatic to the point of perplexing....Her genius is herself though. What she offers is so genuine. Her show could work anywhere as she
350:, the jumping comedian. Three dancers, wearing spiralling yellow and black leotards and tall pointy hats, performed a twenty-minute set of short visually connected dances: 'These simple animated gestures â hopping, jumping, scuttling, rummaging, blobbing, slugging â were grasped and choreographically 'worried to death' in succinct three-minute visual performance wonders'. Two Wild Wiggler dances,
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413:, wrote that the show presented a 'scenario which disgusted male critics but was greeted with warmth by women writers....Those with a theatre background derived something from it. Those with a dance background did not.' British dance critics, whose background was mostly in ballet, were unaware of the piece's roots in Ausdruckstanz, and described the work as a parody of the film
1048:, a dark and disturbing piece on the forces that shape and constrain female lives, from childhood to old age. In an interview she described it as 'a show of opposites; slap and tickle, punishment reward, push and pull' Aggiss alternately 'slapped' the audience, taking them into dark areas, and then 'tickled' them with comic material ('Come on everybody! Letâs have a party!')
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grotesquely-costumed
Expressionism at a time (the 1980s) when most other contemporary dancers were dressed in grey sweatpants and exploring Somatic Practice or Contact Improvisation. 'Iâve always hated jumping and rolling on the floor' she says 'I like the jarring, the angular, the distorted...I like to make a stop-frame animation live performance.'
456:, wrote, 'Liz Aggiss...has thought up a perfectly ripping wheeze of getting five of her chums...to perform in a group called Divas. They have already mastered â no that is too sexist a word for a group of young ladies â they have acquired such advanced performance skills as walking on and off stage.' Mary Clarke in
1197:(2019) was a commission for Dance Six-O, the elder performance company. It was a piece which 'dumps age centre stage and kicks preconceptions into the long grass....Her performers, with handbags on their heads, become a radical army of spirited individuals calling for the overturn of institutional myopia.'
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Sanjoy Roy in the
Guardian wrote: 'Opening its first evening was Liz Aggiss, dubbed the âenfant terrible of the bus pass generationâ in the programme note, whose inimitable presence â equal parts Weimar cabaret host, dada dancer, rogue feminist and end-of-pier prankster â feels as fresh now as it did
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was structured in three acts, 'using a visual and aural collage of movement, text, props, costumes (Holly Murray), sound (Joe Murray) and cover versions (Alan
Boorman/Wevie)'. The first act explored the world of the girl-child and 'the insidious nature of the fairy tales and nursery rhymes than reify
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as pop-up pieces at festivals, including the
British Dance Edition Liverpool, Glasgow Merchant City Festival and Loikka Dance Film Festival, Helsinki, Finland. Carrying a megaphone and a beatbox, Aggiss would make a surprise appearance in front of the audience for another dance piece. Jana NĂĄvratovĂĄ,
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and Carol Brown. The essays discussed Divas' work 'in terms of feminism, hybridity, Expressionism, the "grotesque", abstraction and narrative, linguistic play and (addressed) the multiple and playful textures that define it: sound, space, shape, language.' The book also included a DVD of their works.
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from her speeches and interviews. The title was from a 1987 interview with David
Dimbleby, in which the Prime Minister criticised people who 'just drool and drivel they care.' Aggiss and four dancers, one male, performed as five Thatchers, dressed identically in twin-sets, pearls, handbags and wigs.
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Only the German dance historian Marion Kant recognised the inspiration: 'Liz Aggiss's performance startled me...because so little work has been done to recover grotesque dances and dancers....Yet suddenly...there she was, Liz Aggiss dancing grotesque; dancing Weimar
Germany...turning herself into one
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is, as she repeatedly points out during the performance, definitely and defiantly not pretty. She peels off her coat â a kind of shiny all-body bin-bag â to reveal a scuzzy vest and bulging Y-fronts. She peels those off too, revealing successive layers of vests and undies that release various abject
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Dorothy Max Prior, in a 2017 interview with Aggiss, looked at the connection between her film and live work: 'Whether live or on film, creating moving pictures is at the heart of the work. Big, bold pictures. 'I donât have an ounce of lyricism in me' she says, explaining why she turned to kohl-eyed,
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wondered 'whether or not all that hilarious jumping and swaying with feet tied together really qualifies as dance....It was certainly movement of a highly entertaining kind, to be remembered with gratitude by a critic so often threatened with drowning in a sea of self-indulgence, pretentiousness and
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Aggiss's first experience of dance was in 1970, when she studied
Rudolph von Laban's modern educational dance in the UK. After a teacher training course in Keele, she 'had various jobs teaching PE teachers how to teach dance.' In 1980, she went to New York to study contemporary dance. After a summer
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member; an enormous metal claw with excessively long fingers weaves through the air, both menacing and mesmeric (referencing Kay Lynnâs Finger Dance); her Max Wall bulging bottom channels the
Bouffon, looking down at the world and laughing. At times, she seems to be almost puppeteering herself in a
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In 1986, Aggiss and Cowie created a dance company, Divas, originally all women without formal dance training. Aggiss later said, 'We were always interested in working with performers with personality. In our auditions we interviewed people to find out what they were like. That was what came out on
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Aggiss later said that 'the work was about redefining beauty. By the end, the front row of the audience was crying, especially the women.' At one point, she whipped off her wig to reveal a shaven head. 'Amid gasps from the audience, she heard her father shout from the back row: 'Why do you have to
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In her review, Dorothy Max Prior described the show as 'a marriage of choreography and scenography. Live art. Moving sculpture....Clothing isnât merely decorative, it changes the bodyâs movement, it informs the choreography. Often, the performerâs body is deconstructed or distorted or extended by
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features 'a glammed up Aggiss, fixed to the spot in nameless, enclosed space, and the camera diving and circling around here. The camera lunges at speed towards the centre of her body like a ravenous carnivorous plant, and Aggiss battles against it with all the wiles of a performer....Playing out
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in 2001, Aggiss performed the piece at an academic symposium on the legacy of
Tanztheater at the University of Surrey. Philip Beaven, in his report on the symposium, confessed, 'It took me a while to realise that this was a beautifully fabricated parody of our desire to create icons from the past
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co-directed and the artist Gary Goodman painted cardboard cut-out costumes and set. Billy Cowie provided the poetic text, on topics such as falling apart, dead friends, ageing and babies. Judith Mackrell in The Independent wrote, 'Gaunt faced and neurotic limbed, Aggiss parodies her own long-term
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On her return to the UK in 1982, Aggiss began to teach visual performance at the University of Brighton (then Brighton Polytechnic). Here she met the Scottish composer and writer Billy Cowie, a fellow teacher. They began working together in order to get the student dancers to collaborate with the
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The first showing of the work in progress was on 17 June 2022, opening Sadler's Wells Elixir Festival, a season of performances 'celebrating the artistry of the older dancer.' In SeeingDance, Matthew Paluch wrote: 'Aggiss offers spoken word verging on rap, balletic interludes and jerky movement
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Eve Caille, Young Soon Cho, Vahine Ehrensperger, Claudia Evans, Karen Foley, Alicia Herrera Simon, Allison Higgins, Melissa Hunter, Anette Iverson, Margun Kilde, Renate Kohoutek, Kaori Murukami, Marissa Nielson-Pincus, Emma Ribbing, Dawn Ritchie, Janine Skidmore, Annabel Smart, Khadifa Wong
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was a reflection on mortality, created in 2013 in response to reaching the age of 60. It opened with Aggiss 'shrouded in a black cape and dancing with a skull perched atop her head....The skull, cradled like a baby and placed gently onstage, becomes witness to everything that follows.'
569:, the Viennese expressionist dancer who, then in her 80s, was still teaching dance in a Camden basement. Aggiss studied with Holger until the latter's death in 2001, and later said, 'Meeting her was like coming home.' In 1992, Holger revived four dances for Aggiss from her repertoire:
1095:, which she originally planned as 'a layered, unapologetic feminist solo that dissects the historical medical precedents, associated with female hysteria. Symptoms included: âwandering wombsâ; a âtendency to cause troubleâ; a âgathering in the headâ; âegotismâ and ânovel readingâ.'
1161:. Aggiss described the show: 'A troupe of oddball performers is hell-bent on recovering bodies from the library....This performance pays homage to past dance artists of the past, drags them into the present and reflects on the challenges still facing contemporary dance audiences.'
589:, at the Manchester Festival of Expressionism on 29 February 1992. Sophie Constanti wrote that 'Together all four pieces danced with great sensitivity and aplomb by Aggiss accompanied by Cowie on piano provided a fascinating insight into the lost Ausdruckstanz of central Europe.'
909:. In 'a refreshingly unabashed 'this is my life' she paid homage to herself and to her factual and fictional mentors, from Max Wall to Marjorie Irvine. The lecture brought together her Guerilla dances with earlier works, including Heidi Djinkowska's dance commandments from
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fascination with the dark and grotesque. She is a woman afraid of ageing, obsessed with disintegration and pain, while Itami, smooth-skinned, practical and at ease, winds her up with some funny and often painfully personal cracks about her vanity and artistic insecurity.'
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From 1982 to 2003, Aggiss collaborated with the composer, writer and choreographer, Billy Cowie, making live shows and films under the name Divas Dance Theatre. After their partnership ended, due to artistic differences, she made a series of films and solo live works,
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in green lederhosen. In 1990, the Divas show toured to Germany, the Netherlands and Austria, where a reviewer wrote that 'Liz Aggiss, the post modern primadonna from Brighton puts her finger exactly on the nerve of the spirit of the times with her androgynous show
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From her earliest works, Aggiss has challenged conventional ideas of female sexuality and beauty and questioned 'the social mores that pigeon-hole women of all ages.' She describes her later live shows as a project to 'reclaim the stage space for the older woman.'
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basic issues of feminist understanding â this woman is limited in movement, trapped in her physical body, a figure of constructed glamour and limitless fascination, but bursting with energy and self-assertion, playing the game as hard and wilfuly as she can.'
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pandemic, the project was delayed until 2022. On her website, Aggiss said that she had now 'decided to reinvent herself as a performance poet whilst embracing her inner crone as the ideal incarnation of herself, unruly, wise, fearsome, and just a bit gobby.'
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In a 2018 interview, Aggiss described her motivation for making new stage shows: 'I'd been making a lot of films and then I thought, I want to go back on the stage. I want to be the visible older woman. I want to reclaim the stage space for the older woman.'
783:, an academic retrospective of Aggiss and Cowie's twenty-five-year collaboration, which they edited with Ian Bramley. It included essays by Aggiss, Cowie, Donald Hutera, Sondra Fraleigh, Sherril Dodds, Claudia Kappenberg, Marion Kant, Valeria A.Briginshaw,
600:, at the Zap on 6 November 1992. Remaining seated throughout, she played the role of 'the world's greatest classical pianist going through his daily dysfunctional functions.' The piece had 'shades of Hilde in the choreographic vocabulary and the make-up.'
403:, the most extreme and subversive of the German expressionist dancers. Wearing the uniform of a German gymnast, Aggiss, in a single spotlight, performed a series of short expressionist vignettes accompanied by cabaret-style songs, instrumentals and poems.
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stage. In our first performance, one dancer was pregnant. If you wore glasses normally, you wore them on stage as well.' For dancers, the Divas had what critics described as 'non-standard bodies', causing Aggiss to ask, 'But what is a standard body?'
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for MapDance, the University of Chichester's student company. It featured a chorus line-up of dancers and paid 'homage to early twentieth-century dance in its styling and aesthetic...maintaining the syncopation of a classic showgirl line-up.'
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a send up of the rigid thoroughness of German bourgeois values.' The piece was reconstructed in 1999 at the Purcell Room London, with four male dancers and Aggiss, as school 'mistress', in power suit, stockings and stilettos, carrying a cane.
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or 'a recreation of a Third Reich cabaret'. In Time Out, Alan Robertson wrote, 'Aggiss galumphs around as if she were a transvestite refugee from one of the nightclub routines in Cabaret (presumably she's being awful and gross on purpose).'
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Marilu Achille, Bianca Adefarakan, Liz Aggiss, Liesje Cole, Tig Evans, Hazel Finnis, Leonora Green, Lisa Haight, Siou Hannam, Doris Harman, China King, Mim King, Soile Lahdenpera, Nusera Mai-Ngarm, Pauline Rennison, Enily Shaw, Lois
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Carousel: Joyce Francis, Eric Grantham, Edna Guy, Jane Hanson, Debbie Hartin, Sarah Jackson, Martin Lake, Veronica Lee, Jac Matthews, Clare Matthews, Alison Mills, Colin Richardson, Valerie Rowe, Margaret Stamp, Gill Wilcox
917:. Mary Brennan reviewed a performance at the National Review of Live Art: 'Liz Aggiss wowed us with her Survival Tactics, a bravura volley of agile mischief with ideas and limbs flying in brilliantly ridiculous directions.'
310:, in New York and in Colorado Springs. Back in the UK, Aggiss studied eccentric dance with Joan and Barry Grantham, 'possibly the last remaining living link with the early twentieth century UK Music Hall and Variety world.'
858:(2009), in which Aggiss played a jaded diva, performing a reconstruction of a 1927 dance in St Nicholas's churchyard, Brighton. it was shown on Channel 4 in the UK, ArteTV in France and Germany, and ABC in Australia.
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Joyce Francis, Eric Grantham, Edna Guy, Debbie Hartin, Sarah Jackson, Martin Lake, Veronica Lee, Jac Matthews, Clare Matthews, Alison Mills, Colin Richardson, Valerie Rowe, Margaret Stamp, Gill Wilcox
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As the English Channel, Aggiss presented herself as a medium 'conjuring the ghosts of dance past, present and future, who all remind us that death is just around the corner.' The ghosts summoned were
814:, performed in 2008-9 at dance festivals. This was a set of 18 short sharp dance 'reconstructions' of European Ausdruckstanz solo performances from between 1917 â 1945. Artists reconstructed included
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of those unforgettable, striking images; sharp and penetrating, affronting the senses....There she was as a grotesque dancer reincarnated, offering an eccentric mixture of offence and nonsense.'
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In 1989, Aggiss and Cowie began working with the Brighton based Carousel Dance Company (known as High Spin from 1993) in which the majority of performers had learning disabilities. They created
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In the original student production the dancers wore the white vests and black knickers of school gym classes. In the second production, by Divas, they were dressed in red lederhosen. Parts of
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which Sarah Veale described as 'a smart and searing send-up of the infuriating 'Is it that time of the month?' questions so often levied at women who dare express an impassioned opinion.'
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at the ICA, Aggiss broke her Achilles tendon. Her leg was in plaster for six months, and she was unable to walk properly for a further six. With her leg in plaster, Aggiss performed
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and Isi-te-Jeu. Some of the dances, such as Hilde Holger's were genuine reconstructions, while others mixed fact with fiction, or were wholly invented. For Mary Wigman's 1920
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The show was reconstructed at the Purcell Room on London's South Bank, on 9 April 1999, with live musical accompaniment from Cowie (piano) and Gerard McChrystal (saxophone).
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From 1982 to 2000, Aggiss taught visual performance at the University of Brighton. The course produced several 'fascinating independent artists', including Ian Smith,
733:, shown on BBC2, in which Aggiss played a 'granite jawed singer who is both muse and demon, seducer and tormentor to Ludwig Van (Tommy Bayley).' In 2002, they made
383:, Neil Butler, Billy Cowie, Ralf Higgins, Simon Hedger and Patrick Lee. In 1999, Aggiss, Smith and Butler reunited to perform the act once more in Brighton's
227:(born 28 May 1953) is a British live artist, dance performer, choreographer and film maker. Her work is inspired by early 20th century Ausdruckstanz (
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Julia Burcham, Rainna Crudge, Andrew Franks, Becki Hodgson, Irene Mensah, David Mileman, Maria Pengelly, Ben Pierre, Mark Richardson, Andy Saunders
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Liz Aggiss, Jane Bassett, Maria Burton, Marisa Carnesky, Ellie Curtis, Virginia Farman, Ralf Higgins, Barnaby O'Rourke, Sian Thomas, Fiona Wright
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In 1986, Brighton's Zap Arts commissioned Aggiss and Cowie to create a solo piece to be performed in the single arch of the Zap Club. The work
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Choir: Jeddi Bassan, Sharon Curtis, Lisa Haight, Chris Hallam, Ralf Higgins, Andrew Kay, Mim King, Sai Roberts, Maggy Burrows, Mark Harrison
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the show. She seemed to be sharing her perception of the way sheâs been, or is being, perceived. It felt personal, purposeful and profound.'
369:, who booked them as a support act. This led to appearances in Wembley Arena, Oxford Apollo, Brighton Centre and Zenith Paris. J King in the
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2422:'Rotzige Anti-ladies und Tradition im deutschen Raum' (snotty nosed anti-ladies) Falter 42 (Vienna), Nov 90, quoted on Billy Cowie's website
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Sunah Al-Husainy, Ingrid Ashberry, Julia Burcham, Andrew Franks, Irene Mensah, David Mileman, Maria Pengelly, Ben Pierre, Andy Saunders
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Aggiss's 40th birthday in 1993 inspired her first work on the theme of the ageing fleshy body. Commissioned by the Gardner Arts Centre,
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The three parts were interspersed with audience games of pass-the-parcel and balloon twisting, overseen by the voice of a 1950s BBC
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Live music from Juliet Russell (lead singer) and Marjorie Ashenden, Anna Copley, Lucy East, Gret Hopkings, Emma Stevens (cellists)
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Dance Theatre Lab, where she felt she belonged. Until 1982, Aggiss trained with the Lab's lead teacher, the German expressionist
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musicians. 'When the dancers didn't know how to, Liz got up and showed them. Billy directed from the sidelines.' In their book,
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698:('known as every dancer's bible'), sharing Dzinkowska's 'dance commandments', some of them direct quotations from Hilde Holger
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as 'a challenging, lively, original and entertaining performance.' Aggiss and Cowie created three more shows with the company:
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Sophie Constanti, 'Dancing Diva: Hilde Holger's choreography reaches the British stage at last and triumphs', Arts Section,
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Musicians: Elizabeth Woollet (soprano), Juliet Russell (mezzo), Thomas Kampe (tenor) Ian Needle (bass) Billy Cowie (piano)
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Live music: Billy Cowie (piano), Cathryn Robson (voice), Lucie Robson (voice), Anne Stephenson (violin), Sian Bell (cello)
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Lyn Gardner, 'It's boom time for older actors but how realistic are their roles?' The Guardian Theatre blog, 10 March 2017
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what she is wearing: a black penitentâs shroud covers her head, but exposes her legs, making her look like a mini-skirted
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Liz Aggiss, Jane Bassett, Virginia Farman, Edna Guy, Martin Lake, Ralf Higgins, Sian Thomas, Fiona Wright, Parmjit Pammi
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Judith Mackrell, 'Bus-pass ballet: the over-70s dancers who are going back to the barre', The Guardian, 9 September 2014
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Sophie Constanti, 'Easing the load: The Spring Loaded season at The Place', Dance Theatre Journal, 5(2), 1987, pp26-9.
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Aggiss's live performance was framed by Joe Murray's archive and contemporary films, in which Lisa Wolfe impersonated
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Alongside her own shows, Aggiss has written, choreographed and directed work for other companies. In 2008, she made
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Liz Aggiss, Jane Bassett, Maria Burton, Ellie Curtis, Virginia Farman, Sian Thomas, Ralf Higgins, Barnaby O'Rourke
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in London in December 1989, and went on to win the 1990 Time Out/Dance Umbrella Award. Annette Stapleton described
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Nicholas Minns and Caterina Albano, 'Elixir Extracts Festival at Sadlerâs Wells', Writing about Dance, 9 July 2019
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described the performers as 'determinedly ugly in dress and in movement...as untrained as they are unattractive.'
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687:(1995), a dance lecture performance about Heidi Dzinkowska, an invented choreographer, inspired by Hilde Holger.
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Scott Ambler, Kaye Brown, Sarah Barron, Lindsay Butcher, Chantel Donaldson, Madeleine Ridgaway, David Waring
1020:, performing around Britain and also in Ireland, Sweden, France, Spain, Germany, Russia, China and Tasmania.
2137:
Duncan Hall, 'The grand dame of anarchic dance celebrates 60 years in the world.' The Argus, 7 February 2014
1632:
Live music from Billy Cowie (piano), Anne Stephenson (violin), Sian Bell (cello), Amanda Morrison (soprano)
274:, where she taught for many years, and an Honorary Doctor at the Universities of Gothenburg and Chichester.
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Jana NĂĄvratovĂĄ 'Dance Zone Magazine' (Prague) quoted on the University of Brighton's Guerrilla Dance page
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Sara Veale, 'Womanpower: 'Bloody Nora!' Nora's a riotous new work by Liz Aggiss', Fjord, 11 August 2019
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2. Thou shalt never run around the stage in circles for no apparent reason. Nobody wishes to see that.
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2191:'Un po' di slap and tickle con Orlando' Filmed interview with Aggiss from the Orlando Festival, 2018
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Becky Brown, Lucy Dunden, Wei-Ying Hsu, Akiko Kajahara, Kathinka Luhr, Rachel Read, Colette Sadler
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Sylvie Sueron, 'MimetheatroperaâŠ.Wow!' Liberte de LâEst, December 1990, quoted on Cowie's website.
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Philip Beaven, 'Grounded in Europe: Tanztheater and its Legacy', Total Theatre, Spring 2002, p.18
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Lauren Jury, 'Liz Aggiss: Survival Tactics' (Interview with Aggiss on the Arnolfini website 2013)
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Christine Bell, Penny Carey-Wells, Mary Eckhardt, Shirley Gibson,, Annie Greenhill, Lucinda Sharp
993:
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The show comprised Aggiss's live 'reconstructions' and black and white films of dances, in which
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Marion Kant, 'Liz Aggiss and 'authentic grotesque expressionism', Aggiss and Cowie 2006, p.22-23
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1834:
Liz Aggiss, Matthew Andrews, Jedi Bassan, Vicki Bloor, Judy Bow, Vita Dudley Bow, Pete Nicholas
854:
Aggiss continued to make films, now working with the filmmaker Joe Murray. Their first film was
88:
may contain an excessive amount of intricate detail that may interest only a particular audience
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2649:'Guerrilla (sic) Dances', Research and Enterprise section of the University of Brighton website
1956:
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Liz Aggiss, Maria Burton, Rachel Chaplin, Ellie Curtis, Virginia Farman, Kay Lynn, Sian Thomas
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Lise Smith, 'Review: Liz Aggiss-The English Channel-The Place', 27 April 2015 Londondance.com
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Reconstruction cast: Aggiss, Adrian Court, Sebastian Gonzales, Stephen Kirkham, Ralf Higgins
1267:, Neil Butler, Billy Cowie, Ralf Higgins, Simon Hedger, Patrick Lee, Ian Smith, Eva Zambicki
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3. Look your audience in the eye. Dancers who only look at themselves have something to hide.
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Lesley Graham, 'Made to Last/Handmade, Moonah Arts Centre (TAS)', Arts Hub, 16 December 2019
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Mary Brennan, 'Review of the National Review of Live Art' The Glasgow Herald, 23 March 2010
379:
The original Wild Wigglers were Liz Aggiss, Ian Smith and Eva Zambicki. Later members were
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Sarah Kent, 'Review: Liz Aggiss: Slap and Tickle: The Place', 22 June 2016 Londondance.com
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Paluch 'Liz Aggiss and Charlotta Ăfverholm: Elixir Extracts', Seeing Dance, 18 June 2022
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Lizzy Le Quesne, 'Liz Aggiss: The 3D Queen of Brighton', Ballet Tanz Jahrbuch, 2005, p56
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Lizzy Le Quesne, 'Liz Aggiss: The 3D Queen of Brighton', Ballet Tanz Jahrbuch, 2005, p55
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For Nora Invites (Eleanor Sikorski and Flora Wellesley Wesley), in 2014, Aggiss created
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In 1982, Aggiss and Cowie created The Wild Wigglers, a cabaret act inspired by the punk
2062:
Charlotte Vincent's collaborations with Liz Aggiss on the Vincent Dance Theatre website
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6. Say what you have to say and then stop. If you have nothing to say donât even start.
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toured internationally, and won the 2017 Total Theatre award at the Edinburgh Fringe.
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Valerie A Briginshaw, 'Deconstruction in Die Orchidee', in Aggiss and Cowie 2006, p61
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Dorothy Max Prior, 'Liz Aggiss: The English Channel', Total Theatre, 6 November 2014
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Mary Brennan, 'Search for love in dance of odd footwear', The Herald, 23 April 2017
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Jo Andrews, Avis Cockbill, Tim Crouch, Janine Fletcher, Antonia Gove, Thomas Kampe
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Quoted by Sondra Fraleigh, 'Deconstructing Heidi', Aggiss and Cowie 2006, p116-117
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838:, Aggiss, wearing a long black gown, slowly revolved to reveal her bare buttocks.
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5. On no account hurt or damage your dancers with the thrash and crash techniques.
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Lisa Wolfe, 'Supper Club: The Basement Brighton', Total Theatre, Autumn 2009, p55
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Rachel Chaplin, Ellie Curtis, Virginia Farman, Kim Glass, Kay Lynn, Amanda Tuke,
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958:
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282:
Liz Aggiss was born in Nannygoats Commons, Dagenham, Essex and grew up in nearby
2349:
Sophie Constanti, 'Divas: Lilian Baylis Theatre', The Guardian, 17 December 1993
1511:
Live music from Billy Cowie (accordion), Deborah Hay (guitar) Lucy East (cello)
1317:
Rachel Chaplin, Ellie Curtis, Virginia Farman, Kim Glass, Kay Lynn, Amanda Tuke
800:
Aggiss announces her guerilla dance performance of 'Joi-te-Je' by Isi-te-Jeu at
452:, Divas drew a hostile reaction from mainstream dance critics. John Percival in
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Deborah Levy, 'Writing Dance', in Liz Aggiss, Billy Cowie and Ian Bramley (eds)
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featured a duet for Aggiss and opera singer Naomi Itami. The writer/comedienne
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Donald Hutera, 'Putting Dance on the Map', The Winchester Guide, February 2016
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Dorothy Max Prior, 'Slap and Tickle - Cheese and Pickle', Total Theatre, 2017
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Divas: Liz Aggiss, Jane Bassett, Virginia Farman, Ralf Higgins, Parmjit Pammi
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complex animation of body and object or clothing.' The costumes were made by
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Aggiss returned to the stage in 2010 with a full length performance lecture,
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any relevant information, and removing excessive detail that may be against
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Laura Burns, review of Survival Tactics, Exeunt Magazine, 9 November 2012
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Dorothy Max Prior, 'White Night Beach Party Animals', Total Theatre, 2011
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is a small masterpiece that resonates long after the show has finished.'
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Ka Bradley, Review: Slap & Tickle at The Place, Exeunt, 21 June 2016
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The English Channel, documentation on The University of Brighton website
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appeared in a 1989 corporate film about Canon photocopiers, co-starring
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Laura Irvine, Review of Slap and Tickle, Glasgow, Exeunt, 25 April 2017
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Aggiss at the British Dance Edition festival Liverpool in February 2008
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Sanjoy Roy, 'Silver Sirens steal the show', The Guardian, 17 June 2022
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Judith Mackrell, 'Domestic Science', The Independent, 18 December 1993
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John Percival, 'Applaud the Audience' The Times, 14 February 1987, p42
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provoked strong reactions from audiences and critics. Anne Nugent, in
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Interview with Aggiss on the Brighton Festival website, 12 April 2016
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and Antonia Gove danced as Isi Te Jeu. The score by Alan Boorman of
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1. Thou shalt not improvise. Keep your improvising for the bathroom.
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Lizzie le Quesne, review of Anarchic Dance, Ballet Tanz, April 2006
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Kate Morrison, 'Ballet punks branch out', The Argus, 13 March 2006
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4. Thou shalt not wear leotards made from green artificial fibres.
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Liz Aggiss, Richard Knight, Sebastian Gonzalez, Melanie Marshall
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British live artist, dance performer, choreographer and filmmaker
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Allen Robertson, Time Out review quoted on Billy Cowie's website
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Jenny Gilbert, 'Divas' Independent on Sunday, 11 April 1999, p.8
361:
The Wigglers performed on the Saturday morning television show,
243:. She is often described as the 'grand dame of anarchic dance'.
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Julia Pascal 'Divas: Cockpit', The Guardian, 3 July 1989, p.35.
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Aggiss and Cowie, Introduction, from Aggiss and Cowie 2006, p.3
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1223:, Nikki Ward, Esther Rollinson, Miranda Henderson, Marc Rees,
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Billy Cowie, 'Anarchic Dance', Aggiss and Cowie 2006, p.161-2
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Liz Aggiss, 'Reconstruction', in Aggiss and Cowie 2006, p.151
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Billy Cowie, 'Anarchic Dance' in Aggiss and Cowie 2006, p.167
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Liz Aggiss, 'Reconstruction', in Aggiss and Cowie 2006, p.150
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Liz Aggiss 'Certificate of Embarkation', programme notes for
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3d screen installation (final collaboration with Billy Cowie)
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Mary Clarke, 'Forward Motion', The Guardian, 1 May 1987, p21
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Jeddi Bassan, Sebastian Gonzalez, Thomas Kampe, Scott Smith
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Aggiss's first solo work following the split with Cowie was
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Aggiss and Cowie's first commission for another company was
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may be in need of reorganization to comply with Knowledge's
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Deborah Levy, 'Writing Dance', Aggiss and Cowie, 2006, p.19
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Liz Aggiss, 'Reconstruction', Aggiss and Cowie 2006, p.143
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In July 1992, three days before a sold-out performance of
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Aggiss is Emeritus Professor in Visual Performance at the
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played Heidi. Aggiss also read from Dzinkowska's memoir,
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Annette Stapleton, 'Review: Manic, Moving, Marvellous',
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In 2019, Aggiss began to develop a new solo stage show,
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choreography fund. Aggiss and Cowie used this to create
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In May 1994, Aggiss won a commissioning award from the
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Allen Roberston, 'Dead Steps', Time Out, November 1988
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Anne Nugent,'Divas', The Stage, 19 February 1987, p.17
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when she started out four decades ago. Her short solo
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Sarah Veale, 'Womanpower' fjord review, December 2015
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Stage show (commission for Extemporary Dance Theatre)
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Aggiss and Cowie began to work in film in 1994, with
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Liz Aggiss, Jane Bassett, Ralf Higgins, Sian Thomas
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Biography of Dzinkowska from the 2008 programme for
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documentation on the University of Brighton website
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documentation on the University of Brighton website
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Billy Cowie's website, with archive of Divas' works
1955:Liz Aggiss, Antonia Gove, Emma Kilbey, Lisa Wolfe,
1713:Stage show by High Spin (Carousel's dance company)
1697:Stage show by High Spin (Carousel's dance company)
1013:, who has worked on every Aggiss show since 2000.
2073:Liz Aggiss and Billy Cowie with Ian Bramley (eds)
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1164:In 2016, Aggiss made a third show for MapDance,
721:(complete with original film clips from 1904!)'
2959:Digital programme for HandMADE and MADE TO LAST
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2318:A Robertson, 'Wendy Houstoun/Liz Aggiss: ICA',
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2634:'Guerilla DancesâLiz Aggiss' (YouTube video).
2445:on the archive section of Liz Aggiss's website
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937:at Liverpool Hope University, 20 November 2015
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45:to make improvements to the overall structure.
2477:'List of Works', Aggiss and Cowie 2006, p.177
2340:'List of Works', Aggiss and Cowie 2006, p.174
2034:Stage show created for MADE, Hobart, Tasmania
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2835:Slap and Tickle page on Liz Aggiss's website
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743:which premiered at the Place in London, and
298:to whatever else she fancied' she found the
2520:List of Works, Aggiss and Cowie 2006, p.177
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1491:Stage reconstruction of Hilde Holger dances
765:Aggiss and Cowie's final collaboration was
387:, where the Wigglers originally premiered.
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2757:The English Channel page on Liz.Aggiss.com
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1973:Stage show created for MapDance Chichester
1935:Stage show created for MapDance Chichester
1902:Stage collaboration with Charlotte Vincent
1848:Stage collaboration with Charlotte Vincent
1814:Stage show created for MapDance Chichester
1442:Stage collaboration of Divas with Carousel
1424:Stage collaboration of Divas with Carousel
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2979:Education section on Liz Aggiss's website
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2502:Afterword to Aggiss and Cowie 2006, p.171
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1921:Eleanor Sikorski, Flora Wellesley Wesley
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120:Learn how and when to remove this message
61:Learn how and when to remove this message
2969:Introduction, Aggiss and Cowie, 2006, p2
2860:Crone Alone page on Liz Aggiss's website
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1630:Liz Aggiss, Chloe Wright, Colette Sadler
1535:Falling Apart at the Seams (so it seems)
1140:(2014), referenced the photomontages of
1066:radio announcer, voiced by Emma Kilbey.
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907:Survival Tactics for the Anarchic Dancer
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885:during the 2013 Dublin Live Art Festival
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249:Survival Tactics for the Anarchic Dancer
231:), in particular the Grotesque dance of
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585:(1937). These were first performed, as
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2287:J King, 'Bonked by the Wild Wiggers',
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1759:Scripted to Within an Inch of Her Life
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745:Scripted to Within an Inch of Her Life
399:was inspired by Aggiss's discovery of
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553:Aggiss performs Holger's 1923 dance,
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1810:Don't Put Your Daughter on the Stage
1130:Don't Put Your Daughter on the Stage
1032:Aggiss performs an early version of
618:'This government keeps its promises'
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1918:Stage show created for Nora Invites
1799:Live pop-up dance 'reconstructions'
1219:, Lizzy Le Quesne, Silke Mansholt,
1136:Aggiss's second work for MapDance,
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612:(1990) was a satirical portrait of
390:
330:A page from the 2008 programme for
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2103:Women and Dance, Sylphs and Sirens
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2004:Stage show created for Dance Six-0
1763:Installation performance with film
1678:Stage show by InToto Dance Company
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468:In 1988, Aggiss and Cowie created
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1731:Film, directed by David Anderson
953:, Robin Hood and his Merry Men,
861:In 2011, Aggiss and Murray made
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1509:Liz Aggiss, Daphne Scott-Sawyer
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1905:Liz Aggiss, Charlotte Vincent
1851:Liz Aggiss, Charlotte Vincent
1609:Performance lecture with films
1387:Die Orchidee in Plastik Karton
1180:and Wilson Keppel and Betty's
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984:in Liverpool, 20 November 2015
470:Die Orchidee im Plastik Karton
464:Die Orchidee im Plastik Karton
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2089:Dance, Space and Subjectivity
1612:Liz Aggiss, Aikiko Kajahara,
1573:Film, directed by Bob Bentley
1519:Cafeteria for a Sit-Down Meal
1055:societal mores'. Referencing
779:In 2006, Routledge published
598:Cafeteria for a Sit Down Meal
513:, which was performed at the
492:
3037:British women film directors
3032:English women choreographers
3022:Expressionist choreographers
102:Knowledge's inclusion policy
7:
1476:Tommy Bayley, Maria Burton
1291:Torei en Varan Veta Arnold!
1206:
992:, Emma Kilbey performed as
913:and the 'my my' section of
850:Diva and Beach Party Animal
610:Drool and Drivel They Care!
604:Drool and Drivel They Care!
575:Le Martyre de San Sebastien
557:, at Arta, Glasgow, in 2008
555:Le Martyre de San Sebastien
10:
3063:
3012:Alumni of Keele University
2322:, 29 April-^May, 1987, p54
1952:Solo stage show with films
1930:Cut with the Kitchen Knife
1453:Drool and Drivel They Care
1138:Cut with the Kitchen Knife
1016:Aggiss toured widely with
941:Aggiss's next stage show,
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637:Falling Apart at the Seams
631:Falling Apart at the Seams
608:Commissioned by Zap Arts,
443:Torei en Vern Veta Arnold!
358:, can be seen on YouTube.
1884:Film made with Joe Murray
1831:Film made with Joe Murray
1526:Liz Aggiss, Jeddi Bassan
616:, using phrases, such as
565:Aggiss was introduced to
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1576:Liz Aggiss, Tommy Bayley
1542:Liz Aggiss, Naomi Itami
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836:Lament for the Dead No.2
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432:
426:make yourself so ugly?"
344:Wilson, Keppel and Betty
278:Early years and training
241:Wilson, Keppel and Betty
2257:, Routledge, 2006, p.16
1178:Die Forelle (The Trout)
994:Florence Foster Jenkins
963:Florence Foster Jenkins
893:Souvenir programme for
571:Die Forelle (The Trout)
3017:British choreographers
2468:, 24 November 1989, p6
2291:, 11 November 1983, p4
1502:El Punal en el Corazon
1408:Stage show by Carousel
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290:'studio hopping' from
272:University of Brighton
3047:People from Upminster
3027:Expressionist dancers
2087:Valeries Briginshaw,
1660:Stage show with films
1357:Stations of the Angry
1150:Gertrud Bodenwieser's
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3042:People from Dagenham
2052:Liz Aggiss's website
1968:History Repeating...
1166:History Repeating...
1069:Laura Irvine called
905:, originally called
545:Hilde Holger in 1926
2636:Lament for the Dead
2490:, 9 June 1993, p3-4
2204:The English Channel
2105:, Macmillan, 1992,
2077:, Routledge, 2006,
1947:The English Channel
1866:Performance lecture
1743:Anarchic Variations
1692:The Surgeon's Waltz
1310:Dva Sa Momimomuvali
1225:George Chakravarthi
1075:The English Channel
1042:The English Channel
1018:The English Channel
982:The English Channel
943:The English Channel
935:The English Channel
925:The English Channel
832:Bronislava Nijinska
740:Anarchic Variations
579:Mechaniches Ballett
527:The Surgeon's Waltz
253:The English Channel
229:Expressionist dance
187:, Dance performer,
43:editing the article
2091:, Palgrave, 2009,
1879:Beach Party Animal
1623:The Fetching Bride
1064:Listen with Mother
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863:Beach Party Animal
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804:on 2 February 2008
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346:'s Sand Dance and
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2097:978-0-230-27235-4
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1640:Bird in a Ribcage
1569:Beethoven in Love
1372:Dorothy and Klaus
1326:Eleven Executions
1256:The Wild Wigglers
1176:, Hilde Holger's
1146:Edweard Muybridge
973:and Isi Te Jeu.
841:Aggiss performed
737:, shown on BBC2,
731:Beethoven in Love
614:Margaret Thatcher
365:, where they met
322:The Wild Wigglers
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199:Years active
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36:layout guidelines
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1959:(film narrator)
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1302:, Jeanne Ayling
1276:Grotesque Dancer
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1040:Aggiss followed
980:Aggiss performs
933:Aggiss performs
903:Survival Tactics
895:Survival Tactics
883:Survival Tactics
881:Aggiss performs
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673:Survival Tactics
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2068:Further reading
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2019:Solo stage show
1988:Solo stage show
1984:Slap and Tickle
1794:Guerilla Dances
1776:Men in the Wall
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1438:La Petite Soupe
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1300:Louise Rennison
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1071:Slap and Tickle
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1034:Slap and Tickle
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1024:Slap and Tickle
959:Gertrude Ederle
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2030:Made to Last
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1265:Jane Bassett
1263:Liz Aggiss,
1255:
1210:
1201:MADE TO LAST
1200:
1199:
1194:
1193:
1189:Bloody Nora!
1188:
1186:
1181:
1177:
1173:
1170:Bounce Dance
1169:
1165:
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1011:Holly Murray
1006:Ku Klux Klan
1002:
987:
981:
969:, Max Wall,
965:, Kay Lynn,
948:
942:
940:
934:
919:
915:Absurditties
914:
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894:
882:
867:
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840:
835:
824:Valeska Gert
816:Hilde Holger
810:
807:
785:Deborah Levy
780:
778:
767:
764:
758:
757:
753:Kettles Yard
748:
744:
739:
734:
730:
728:
719:
715:
705:
701:
695:
692:Lea Anderson
689:
684:
678:
672:
657:Absurditties
656:
653:Absurditties
652:
651:
648:Absurditties
636:
634:
623:
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597:
593:
591:
586:
582:
578:
574:
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567:Hilde Holger
562:
560:
554:
537:Hilde Holger
530:
526:
522:
518:
510:
508:
498:
496:
486:Die Orchidee
485:
477:Die Orchidee
476:
474:
469:
467:
458:The Guardian
449:
447:
442:
440:
436:
428:
424:
420:
406:
405:
401:Valeska Gert
396:
394:
381:Jane Bassett
378:
372:Morning Star
370:
360:
355:
352:Weird Wiggle
351:
337:
331:
315:
312:
304:Murray Louis
288:
281:
269:
265:
260:
256:
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248:
245:
233:Valeska Gert
224:
223:
131:
116:
107:
94:spinning off
87:
57:
48:
33:
2997:1953 births
2847:Crone Alone
2466:Care Weekly
2015:Crone Alone
1991:Liz Aggiss
1914:Bloody Nora
1869:Liz Aggiss
1802:Liz Aggiss
1766:Liz Aggiss
1751:Liz Aggiss
1734:Liz Aggiss
1596:Liz Aggiss
1494:Liz Aggiss
1404:Banda Banda
1364:Liz Aggiss
1283:Liz Aggiss
1260:Cabaret act
1142:Hannah Höch
1124:Commissions
1117:Crone Alone
1098:Due to the
1093:Crone Alone
1087:Crone Alone
971:Lily Morris
820:Mary Wigman
681:Bonnie Bird
581:(1926) and
529:(2000) and
519:Banda Banda
511:Banda Banda
356:Hop on Pops
261:Crone Alone
185:Live artist
166:28 May 1953
2991:Categories
2638:is at 3.00
2443:Dead Steps
2117:References
1644:Stage show
1627:Stage show
1593:Stage show
1554:Stage show
1539:Stage show
1523:Stage show
1506:Stage show
1487:Vier Tanze
1473:Stage show
1457:Stage show
1391:Stage show
1376:Stage show
1361:Stage show
1341:Dead Steps
1330:Stage show
1314:Stage show
1295:Stage show
1280:Stage show
1182:Sand Dance
1057:Cinderella
967:Max Miller
951:Kurt Jooss
828:Dore Hoyer
594:Vier Tanze
587:Vier Tanze
561:Following
499:Dead Steps
493:Dead Steps
481:Rik Mayall
340:pogo dance
308:Hanya Holm
296:Cunningham
225:Liz Aggiss
214:.lizaggiss
162:1953-05-28
138:Liz Aggiss
98:relocating
2026:2019/2023
1709:Rice Rain
1558:Underwood
531:Rice Rain
454:The Times
411:The Stage
348:J.H.Stead
284:Upminster
193:Filmmaker
175:, England
2320:Time Out
1656:Divagate
1420:La Soupe
1207:Teaching
1100:Covid 19
577:(1923),
573:(1923),
533:(2001).
525:(1990),
523:La Soupe
385:Zap club
237:Max Wall
173:Dagenham
110:May 2024
51:May 2024
1605:Hi Jinx
1252:1982-90
911:Hi Jinx
685:Hi Jinx
663:Hi Jinx
415:Cabaret
207:Website
2109:
2095:
2081:
363:No. 73
292:Graham
1247:Cast
1241:Title
1231:Works
1172:from
998:Wevie
725:Films
583:Golem
448:Like
433:Divas
2672:Diva
2107:ISBN
2093:ISBN
2079:ISBN
2011:2022
1996:2019
1980:2017
1942:2015
1910:2014
1892:2012
1874:2011
1856:2010
1826:Diva
1821:2009
1789:2008
1771:2003
1748:Film
1721:2002
1705:2001
1687:2000
1668:1999
1652:1997
1601:1995
1585:1994
1565:1994
1531:1993
1483:1992
1465:1991
1416:1990
1353:1989
1322:1988
1272:1986
1244:Form
1238:Year
856:Diva
802:LIPA
621:For
354:and
302:and
259:and
239:and
216:.com
156:Born
515:ICA
294:to
212:www
96:or
2993::
2777:^
2763:^
2725:^
2711:^
2545:^
2495:^
2271:^
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1184:.
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39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
