Ronja Räubertochter, General-Anzeiger, Bonn 2017

The wonderful opera evening lives from the music, the opulent stage design and by Anna Holter magnificent choreographed dance settings

Vom Mädchen, das nicht schlafen wollte, Michael S. Zerban, 2015

The choreographer Anna Holter shows with her dancers how high you can reach. Especially the big dance of joy towards the end which is a firework within choreographic possibilities and you don't know what hit you

Vom Mädchen das nicht schlafen wollte, Anke Horstmeier, WAZ 2014

Brilliant soloists, choir, ballet, stage musicians - 90 min full of surprising conversion, shifting emotions, with fantasy and tempo, humour and romance (..) every picture like a dream from the fish-ballet to the moon.

Die Entführung aus dem Serail für Kinder, Christa Dietrich, Vorarlberger Nachrichten 2013

Director Johannes Schmid and choreographer Anna Holter successfully proved a poetic and accentuated story.

Die Entführung aus dem Serail für Kinder, Hanna Pfaffenwimmer, Salzburger Nachrichten, 2013

The children were so filled with admiration at the premiere this weekend, they could almost not sit still in their chairs

KITCHEN, Gabriella Lorenz, Abendzeitung 2009

Holter smoothly choreographs tension and dynamic contrasts. Brilliant dancers ( .. ) Atmospheric and physical strong dance theatre piece

Fürther Nachrichten - 17.3.2008 - Marion Reinhardt

Distinctly more mature / Signs of maturity


Thema 3

Anna Holter shows signs of a growing maturity. She allows the three dancers to build a group which concretely defines the structure of the room. They exchange eye contact, interact with one another. They test the balance of power in different positions and play out a range of possibilities in differing combinations. The flowing movements and repeated variations create an elegant aesthetic. At the same time the Swedish choreographer uses her dancers to tell us a kind of story. After beginning with the motif of finding balance, a power struggle enfolds, developing into a skirmish - three becomes one too many. Everything ends in a futile attempt to establish contact. The hand, outstretched as if in a gesture of reconciliation, goes ignored. This motif is taken up again and again, taking on a life of its own creating, as well as the aesthetic affect, also a certain humor.

Süddeutsche Zeitung - 10.03.2008 - Florian Welle


Thema 3

the Swedish-born Anna Holter investigates the number three and its spirituality and magic. Holter creates a dance of attraction and rejection. Inclusion and exclusion. Two collude by leaning on one another, first with their arms, then their shoulders and then finally back to back. The third imitates the duo and falls. When she is allowed to join the others, she upsets their balance too. The superb high point of a gripping evening.

Münchner Merkur - 23.10.06 - Malve Gradinger

Physical Motor
Anna Holter's "Echo" in i-camp

Young talent in sight: the Swedish dancer Anna Holter attracted attention immediately after finishing at the Ivanson School in Munich. Now, if not with one of her previous dozen pieces, she demands attention as a serious choreographer with her latest piece

"Echo - from yesterday and tomorrow"


Four dancers at the front of the stage: Holter, on the right, falteringly begins to read her own poem, stopping frequently to elaborate it with complicated explanations. The other three sit bored, like slippery electric eels on their chairs. Oh no! Not another ridiculously ironic blabbered piece of dance theatre!

The fear is unfounded. The four soon activate their physical motors, this time at the back of the stage, and paint their own narrow airspace with individual Brüssel Spitze Bewegungen. They follow one another down a zig-zag path of light, like children in a fairytale by moonlight. They reach for one another's hands and fall apart under the uncontrollable tension; their figures are turned into delicately sculptured quartets by Reinhard Kopp's lighting. Aside from their distinctive solos, Holter's colleagues also offer personal stories. From these, according to the programme, a collective consciousness should be formed which is investigated through dance. The audience needn't worry about this construct very much, but it has visibly helped Holter to structure her space and 80 minutes into a clear and logical rhythm.

The four dancers bring personal charisma in addition to their virtuoso skills in movement and this means their little spoken "Echos of yesterday and tomorrow", lend this piece, despite it's abstract nature, a human warmth.

Süddeutsche Zeitung - 24.10.06 - Silvia Stammen

Plenty of Room for Movement

Memories and desires are the invisible threads which hold a life together, making it a whole with a beginning and an end. What happens in between is play and movement and this, be it intentionally or by accident, always defines space. According to the Munich choreographer and dancer Anna Holter "Space does not exist in isolation; it rather reveals itself with every step which is taken into it."

"ECHO - from yesterday and tomorrow"

is Holter's new 80 minute production in i-camp in the Entenbachstrasse, it is also the concluding part of her "Meeting" Trilogy, begun with

"Meeting with Oneself"

(2004) and continued with


(2005). Four dancers, Nadine Gerspacher, Linda Samaraweerová, Vivien Holm and Holter herself form together something like a multiple identity. Flexibly related to one another, but never the same, they create their own rather fanciful stories. In the foyer Samaraweerová urges the audience to give her presents of gold jewellery for her birthday, on the stage this continues with an echo from the past, the song "These foolish things", which we vaguely remember Frank Sinatra once sang, is read by Holter as if it were her own poem. She reads and interprets line by line, taking pleasure in every rhyme while the other three women increasingly twitch in studied boredom on their chairs like hyperactive children until dance emerges from these incidental gestures.

As previously, Holter uses an open multi-layered structure and allows her dancers enough freedom to create individual movements and bizarre pieces of improvised speech before the four come together once more to form a collective girly gang which explores its way step by step in a danced zig-zag line. Sometimes the experimentation is to the expense of the decisiveness and concentration, after all, the end product should only include the essential, everything that lead to this should be left out. However for the purpose of learning, it is certainly no bad thing to have as much room for movement in your head as Anna Holter does.

AZ - 23.10.06 - Katja Werner

Echo from yesterday and tomorrow
The new dance performance by the choreographer Anna Holter in i-camp theatre

According to the programme, there is a connection between memory and space; this is the theme of

"Echo - from yesterday and tomorrow",

the third part of Anna Holter's "Meeting" Series.

The first space which we enter with the four-strong female ensemble appears to be a gossip shop. Great start the audience is thinking, as Anna herself sits and threatens us with a poem she has written on her theme. It is reminiscent of many well-meaning dance performers who discover an after-hours calling for poetry. Then we discover the poem is called "These Foolish Things" and we are whisked away to those romantic evenings which have been sweetened by the classic. Yes, memory is construction!

This is shared by the choreography, Holter's primary profession. The Swedish born choreographer shows once again that she can deliver a solid structure. All of the diverse mix of solos, trios, and quartets consist of tableauxs which maintain the intensity, also the balance between light and dark, fast and slow, back, front, left and right. Electronic sound is well placed and before it begins to annoy it fades into Frank Sinatra, Brian Ferry and Nat Cole.

Just as noteworthy are the dancers themselves. Most of all when they keep quiet and dance. Reactionary? I think not. Just see how interesting, how individual the four become when they concentrate on their movements. Then the blabbering teenagers (in reality long past this) with pseudo-important reminiscences of puberty become flexible, sensuous, strong women. Anna Holter, Nadine Gerspacher, Linda Samaraweerová and Vivien Holm - individuals whose possession of space it is a pleasure to remember.

SZ Extra - 8.12.2005 - Katja Schneider

I and You in an Empty Space

Following the encounter with its own ego in

Meeting With Oneself

, the individual now meets a second individual. Anna Holter places herself and her dancers into an empty room and studies how they interact with each other. They fidget, kick, tremble and shake, collapse to the floor and pace back and forth - irritated by the others' presence or in confrontation with them. For her piece


which is premiering at i-camp theatre, Anna has teamed up once again with Helmut Ott, Nadine Gerspacher, Linda Samaraweerová und Franziska Unseld. "Anna Holter & Company" have securely established themselves in Munich's cultural scene.

Abendzeitung - 10.12.2005 - Katja Werner

"Involved" at i-camp: Wawuschels on speed

...Holter is an obvious talent when it comes to form. Her images are attractive: from the group tableaux for five to those crazy wigs and the anonymous uniforms in carefully selected red, beige and brown; from the tiny movements to the feeling for the entire room at i-camp. It's wonderful to see someone so concerned with their impression as a whole. And she's got energy. She's found a couple of restless girls of her own calibre - off they go like ??? on speed. Those are the best moments: when they shake their fake manes as though they wanted resurrect "Hair". Relax, people!

Süddeutsche Zeitung - 10.12.2005 - Silvia Stammen


The beginning reminds one of being at a public swimming pool - everyone wants to have their own space but no one wants to be alone. Five dancers are lying on their backs around the room. They stand up and find themselves a new place - a little farther away from one, a little nearer the other. At all times they're facing away from the audience staring either at the ceiling or into the dark extremities of the stage. Who am I? Where do I belong? What happens when people meet? Such fundamental questions occupy the young Swedish choreographer Anna Holter, who was born in Stockholm in 1976 and has lived and worked in Munich since 1995. Following

Meeting with Oneself

her latest piece


(showing at i-camp until Sunday) uses playful energy to explore the dynamic processes of attraction and repulsion, closeness and jealousy. Only gradually does a structure emerge from all the pieces - first a couple, then a diagonal. Some time passes before the first artistic gestures appear. Anna Holter takes her time in making her choices, but then the rather static beginning suddenly bursts with movement. The scruffy red and blonde wigs and casual club gear almost give the five dancers - Nadine Gerspacher, Helmut Ott, Linda Samaraweerová, Franziska Unseld and Anna Holter herself - the appearance of a school gang, whose behaviour alternates between cool, affectionate and aggressive.
Individuals from the group seize the initiative leading the others into submission. Especially the middle of the piece is full of wonderful scenes consisting of unusual points of contact - a hand cups a chin, covers the eyes or tugs impatiently on another person's arm."

Tanzkalender Jan - Feb 2006

A moving, enjoyable piece by Anna Holter

With her second sell-out piece


Swedish choreographer Anna Holter, who lives in Munich, presents a touching analysis of how human beings live together. The choreographed encounters, conflicts and moments of high emotion - intensively portrayed by Nadine Gerspacher, Anna Holter, Helmut Ott, Franziska Unseld and Linda Samaraweerová - leave the viewers no chance to distance themselves emotionally. Get involved!"

TZ - 12.12.05 - Verena Krebs

Anna Holter's "Involved" at i-camp

What happens when people meet? In her piece


, 29-year-old choreographer Anna Holter analyzes attraction and repulsion between individuals (i-camp). Five dancers in 60s' outfits and with wigs on their heads, including Holter herself, turn in slow motion on the spot and wrestle each other to the floor.

Süddeutsche Zeitung - 18.05.2005 - Katja Schneider

"Ikväll svenskt"
Dance from Sweden

Last week we saw "Tranzalpin", now we see "Ikväll svenskt", that means tonight swedish. Together with i-camp theatre and Tanztendenz Munich, Anna Holter has organized this view to the north. The Swede, now living in Munich, showed her

"Meeting with Oneself"

, which premiered last year. Already good then, the piece is now even better. It might be thanks to the new room, the great depth, the even tighter staging and the absolutely secure and precise dancers - certain is: this meeting with oneself has found itself.
Nadine Gerspacher, Franziska Unseld, Helmut Ott and Holter herself, with dark wigs and earth-coloured unisex-clothes, create a concentrated, thick atmosphere. Their individuell, intricate movements flow cleverly with each other, and never disintegrate in to single, random actions. It is about making a move and being forced to move, like in the cup-game that already begins in the foyer and countinues throughout the play in a number of variations. Action and reaction, quick decisions and their consequences, the weighing-up of alternatives: Anna Holter choreographs that even a non-decision is a decision and leads to a result.

Go Magazin - 10/2002 - Annette Galler

"I've never wanted to be a prima ballerina."
Anna Holter, dancer and choreographer

"Everything was overshadowed by a huge question mark. I wanted to look inside that question mark and discover what was going on in there," says Anna Holter with her Swedish accent as she smiles. Immediately after high school, without knowing a word of German, Anna came to Munich as an 18-year-old and completed her dance training at the Iwanson School. For seven years now, she has lived and worked in Munich...
...Anna Holter's choreographies emerge from spontaneous ideas. They are stories she wants to tell. She finds her subject before she develops her movements - not the other way around. In philosophical and psychological literature, as well as in art, Anna searches for elements that will complement and further develop her ideas.

Süddeutsche Zeitung - 05.08.2002 - Katja Schneider

Dance workshop: Dialogue Project
Concentrated work

These were the results of a 14-day co-operation between the Slovenian artist Iztok Kovac, Munich's choreographer in residence, and Eva Forler, Monica Gomis, Stephan Herwig, Anna Holter, Ludger Orlok und Andrea Sonnberger - a series of miniatures, sketches, studies and building blocks called "Work-in-Progress Presentation". The choreographers - who had been selected by Walter Heun after consultation with the city council and paid for 14 days - did not work at i-camp in a framework set by Kovac. The aim was to reflect upon one's own work - alone and with others. It was a chance for exposure to outside influences. Kovac may be described here as mediator and catalyst, whose tips on light design (Jaka Simenc) and music (Sebastiano Tramontana) will have been precious - Anna Holter occupied virtually the entire interior, caused ever-changing occurrences, created scenarios of disrupted communication.

Münchner Merkur - 18.02.2002 - Malve Gradinger

"Blonde Nymph"
Anna Holter's dance solo in I-camp

"Swedish dancer Anna Holter, who is based in Munich and well-known here, has ventured a two-part solo performance"
"Sequence captivates: While Holter dances toward the background screen, she creates the illusion that the young man projected onto the screen has an emotional connection to her. As he pulls out his mobile telephone, he appears to speak to her. Anna Holter knows how to use video, music (Rupert Huber) and lighting (Karl Schlagenhaufer). She has imagination in movement and a feeling for phrase."

Süddeutsche Zeitung - 16.02.2002 - Katja Schneider

"For several years now, the young Swedish dancer Anna Holter has been dancing in Munich: powerfully, athletically and, at the same time, with a faint touch of being in danger, on the edge, that makes her work so attractive. That is how she appeared in a number of pieces Karen Effenberger, Manfred Kröll, Johanna Richter and - what was particluarly impressive - by Mia Lawrence. So too, does she appear in her own choreographies, two of which she is now presenting in i-camp."

Süddeutsche Zeitung - 14.02.2002 - Peter M. Boenisch

Atoms in orbit

Anna Holter, from Stockholm, likes the comparison between choreography and solving mathematical equations. She takes the inspiration for her dance solos from scientific and philosophical texts. Not really something for the purists, but definitely for fans experimentation with various media. In her latest pieces

"IN-INDIVIDDUM alias atomo"


"1st time told"

, Holter sets the stage with videos, lighting design, club music and a poet - as well as dance, of course. Her questions: What is an individual? Do people behave like atoms when they meet? What does the term "realities" mean?

Süddeutsche Zeitung - 15.05.2001 - Peter M. Boenisch

The Bodv As A Dancing Sculpture
The Swedish dancer, Anna Holter, has become the great hope of the Munich scene

For the last six years, Anna Holter from Stockholm has been living and dancing in Munich. With her short choreographies - most recently,


was performed in Theater Und So Fort in the series "Secret Solos" - she is about to make a name for herself as the big new hope of the local scene. As a part of the festival tanzmetropol.e, which takes place in the Metropol-Theater in Freimann from today until May 23rd, the 25 year old will show a cross-section of her young repertoire (17th and 18th May, 8:30pm). In 1995, Anna moved to Munich from Stockholm to complete her dance training at the school of her Swedish compatriot, Jessica Iwanson. She emphasises however: "I never really wanted to be a dancer, in the way that all girls see a prima ballerina and say, "I want to be able to do that, too.""
She began with jazz dance as an eleven year old, and didn't developed classical steps until quite late. At school performances, she took a liking to being on stage and dancing. "After finishing school, I simply wanted to get out of Sweden and see what it was like to dance professionally." Even before her Professional training was over, she got a part in Weiße Ehe in the Residenz Theatre, danced in a musical in Austria, and performed in a piece by the Munich choreographer, Manfred Kröll. From that point on, she has moved further and further into contemporary dance - including the first choreographies of her own, which emerged from 1998 onwards, and of which a new version of the duet,

"Barfüßige Engel"

, can also be seen at her performance during the Tanzmetropol.e festival.
While other choreographic debutants often concentrate too rigidly on dance and body, Anna Holter quickly understood how to form movement, light, music, and props into images, which are clearly conceived and atmospherically emotional, and yet always light and unobtrusive. "Choreographing is like forming a sculpture: you build something here, take something away from one point and bring it back somewhere else" says Anna Holter, who also enjoys painting privately. The starting point for her pieces is not an idea of movement, but topics which occupy the dancer's thoughts. With


, for example, she closely examines "seeing", "observing", and "not seeing". For this project, she submersed herself in psychological and philosophical literature on the topic: "When I'm occupied with something, there are times when I just read, and at that point it becomes very theoretical. Upon these impressions, I build my story, which I put down on paper. There are still no movements - only gradually do images and scenes begin to develop in my mind".


had originally been intended for several dancers, however due to a lack of funds, it became Holter's first solo, which she had choreographed for herseif. "You're completely alone; you have to sit down and think on your own; and then you're in the Studio, alone in this big room and you can only criticise yourself," is how she describes the experience. "I used to think, I'd need at least 10 years before I could do that, but in the end, it was really terrific." Her next big goal would now be a piece filling an entire evening - however, Anna Holter remains modest and cautious: "As long as it interests me, and I feel that I've got something to say, I'll keep building upon this foundation", said Anna about her future. That doesn't necessarily have to be in Munich, since as she emphasises herseif, she still has "one or two feet in Stockholm."
Anna Holter in "Zooming". photo: Franz Kimmel

Süddeutsche Zeitung - 02.03.2001 - Peter M. Boenisch

A game of light and shadow
The choreographer Anna Holter puts on a convincing performance at "Theater Und So Fort"

That looked promising: with her piece


Anna Holter shows what a highly imaginative chereographer she is. At the beginning she's kneeling in front of a television, only her head and torso are moving. Later she stalks across the stage in werwolf's feet - suddenly there's laughter mixed among her movements, then scarcely audible whispers. On the stage floor and backdrop there are letters of the alphabet. This short solo piece remains open to interpretation; its images and precise sequences of movement capture the audience. Anna Holter employs stage effects masterfully, in particular, music and a game of light and shadow. Following her successful debut, this young dancer seems to have what it takes to become the new talent of Munich's modern dance scene - A short evening that, with Anna Holter, has a worthwhile discovery to offer.