In New York, immersed in Noé Soulier’s The Waves

Meleat Fredriksson in The Waves by Noé Soulier

Stephanie Amurao and Nans Pierson in The Waves by Noé Soulier

Stephanie Amurao in The Waves by Noé Soulier

Stephanie Amurao and Nans Pierson in The Waves by Noé Soulier

Nangaline Gomis in The Waves by Noé Soulier

Por Carla Escoda, 07 marzo 2026

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“like a contagion, the others started spinning, throwing and recoiling as the lights turned dark red”

Crítica hecha desde Joyce Theater, Nueva York el 4 marzo 2026

The Waves (Noé Soulier)

Tom De Cock, Percusión

Gerrit Nulens, Percusión

La débordante ouverture de la saison danse du Théâtre de la Ville

Julie Jozwiak, 4th September

Liam Francis, Noé Soulier et Maud Blandel, trois jeunes chorégraphes remarqués à l'occasion du concours Danse élargie, ont formidablement ouvert la saison avec leurs propositions variées et enrichissantes.

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Trisha Brown Dance Company: a return to pure dance at its best

Graham Watts, 13th March

Trisha Brown Dance Company in a programme that focused on dance rather than visual effects.

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Noé Soulier et Maude Gratton au plus près de Bach dans Close Up

Julie Jozwiak, 11th March

Le chorégraphe et la musicienne s'associent pour un spectacle qui donne à voir la vivacité incroyable de la musique de Bach dans les mouvements de six danseurs du CNDC d'Angers.

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A study on falling: the Trisha Brown Dance Company and Noé Soulier

Katja Vaghi, 23rd January

The Trisha Brown Dance Company closes the Performing Arts Season 2024/25 at the Haus der Berliner Festspiele with Glacial Decoy.

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Wagemutige Himmelsstürmer: NDT 2 tanzt Pite, Soulier und Inger

Michael Klier, 16th March

Ein abwechslungsreicher Theaterabend, der die Klasse auch der Juniorcompagnie des NDT einmal mehr eindrucksvoll unter Beweis stellt.

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Noé Soulier at the Lilian Baylis Studio

Kit Brown, 29th May

Noé Soulier filled the first half of the evening with two pieces – Le Royaume des Ombres (“The Kingdom of Shades”) and D’un pays lointain (“From Another Land”) – both of which were experimental works, playing with and distorting the conventional construction of the ballet language.

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Carla Escoda

Born in the Philippines, Carla trained as a ballet and modern dancer with the Alice Reyes Dance Company in Manila. She has lived and worked in Asia and the U.S. and has written about the arts for Bachtrack, KQED (the northern California public media broadcaster), Dance International, dance journal/hk, the Huffington Post, Dance Europe and ballettothepeople.