The  dance of Harald Schulte, (...), confronts the observer with a form of movement that most of them probably never saw before. The shocking effect of this dance in this place is less of an unbridgeable strangeness in the motivations of the dancer and his viewers than the expressiveness of the individual expression that the dance strives for and the showcase locked here for years by Harald Schulte However, the surrounding Montan industry already largely found post-industrial Bruckhausen and published it for all the inhabitants of this place - their own word, however, not yet physical expression, confirming their suffering, but not (yet) opposing each other like the dancer's body, rearing up Vote.

Schulte impressively succeeds in expressing the psychogram of this human being. The urgency that the performance conveys to the visitor is not least due to the skillfully selected music. (...) One gets the feeling that here, rather, the species-specific, the human substance, in short: the lump clay in all of us sit opposite.

... Images shot through to the smallest gesture, evidence of enormous body control and the absolute fusion of movement with music. Schulte dances with all body parts ... ... moves millimeter by millimeter. He caresses, kneads, bites and tears at his own flesh ... In the end, he poses as Rodin's "thinker" pondering fate at the Gates of Hell, and as a pain-stricken Laocoon, before he - again with deliberate slowness - body part in the background of the stage disappears. The spectators were thrilled with this extraordinary dance evening and showed their respect for the artist with long-lasting applause, "super" and "bravo" shouts.

"Much applause for controlled loss of control" - ... Wonderfully designed piece ... The audience thanked for this harmonious production with long-lasting applause.

"With danceable dance steps, the dancers wind their way across the stage. Their bodies move abnormally in all directions. The body seems to be out of control. The human soul, which usually lives in it and controls the movements, seems to have left it long ago. Here Schulte focuses on the effects of different dance styles such as Japanese dance, ballet or African dance, which his dancers and he himself skillfully implement. ... But despite all the atrocities - it pleases. Because the individual sequences of the piece is effectively put into practice by Schulte with his dancers - in typical school manners: here, too, chairs serve as dance partners, the dance style is refreshingly alien and video projections are used.

"Joy Division, whose name is ironically related to the fact that singer Ian Curtis hanged himself on the wave of wave music after three years; With Joy Division Harald Schulte starts his "round dance" and that is exactly the mood of this dance theater evening. It's all about fun, desire, and the compulsive smile with a broken heart, but behind the eternal good face is a wicked, sad game. It is a mutual need and throw away, which the company Danse Automatique staged free after Schnitzler. (...) The Ringlokschuppen now apparently has a second house ensemble in addition to the Mark Sieczkarek Company (...) The partly surreal dance scenes flow and convince, the timing is great and the scenic gags usually surprise. The audience donates a standing ovation. Many nice ideas and a round aesthetics - one hardly expects more from a dance theater evening.

"Flying garden chairs, a rolling sofa and aprons embroidered with CD's are just a few of the unusual dance theater" Reigen ", staged by Harald Schulte. (...) Graceful dance steps and unexpected actions of the performers tear the audience away from the rare moments of the silence of the piece. The chair becomes a dance partner. But only for a few minutes, because without hesitation, the dancers suddenly throw the chairs through the air. Music, but also the light ... create an unforgettable atmosphere. But not only garden chairs, but also feathers, popcorn and crumpled beer cans are on the stage at the end. A true battlefield, where dancers continue their search for true love. ... A real couple is never found. A tree change-you-game as it stands in the book.

"Too funny to be tragic, too sad to be funny, too beautiful to be ugly, too bad to be beautiful, the staging moves in an intermediate world between now and apocalypse"

"The yearning for love, that is hell on earth. She drives the dancers into each other's arms, but following each other leads to the discarding of the other. The loneliness of the individual evokes an atmosphere of the end of the world. Under the choreography of Harald Schultt, a panorama unfolds into a world that oscillates between hope and despair.

The joints are as twisted as if they were bursting at any moment. And the muscle play under bare skin, the movements of the whole body has Harald Schulte concentrated under control. What sounds as expressive as it is grotesque is his dance. It is a dance that wants to provoke, which also revolves around taboo topics such as illness and death. It is not the big gestures that make up this dance, but it is the search and the discovery of locomotion.

Banned, the audience followed their performance with the white painted body last summer after an odyssey concert.

"... tension and relaxation, strength and relaxation, hardness and delicacy, rearing and sinking, life and (almost) death - these are the elements from which this ground-based movement canon arises. Schultes solo with tiny stretching and stretching poses in harmony with noise and music,  meditation .... "" much applause of a knowledgeable audience. "

"An enthusiastic audience found in the past year the presentation of the first part of the dance cycle" Bodyfarm "by Harald Schulte, in which it was about death and transience and the transformations of human existence that result. With "Big Silence" Schulte brings the second part of the cycle on stage. The topic is silence in situations where you can not find words anymore. If you can not talk about guilt, dying and death. Every breath, every gesture becomes a sentence when nothing more can be said. Death is the great silence. A silence that springs from the fear of him. The silence, because you yourself have done something unspeakable. "Big Silence" is no longer a classical dance piece, but it is not a dance theater either. It's a piece with its own fascinating language. "

"... Harald Schulte dances his solo" Braindead "from the cycle Bodyfarm. Bodyfarm deals with death and physical decay. Decay, however, is not the end, but the beginning of a new form of reproduction. Grotesquely surreal - with the profound sense of being aware of the history of man beyond death. "

On the turntable, Harald Schulte caused a sensation at the Ruhr summer with his dance performances. Provocative dance theater of staggering intensity.

When are existences endangered, where do they threaten to dissolve, how can they be maintained? Harald Schulte, Florentine Schara, Leandro Kees, Eileen Bohorguez and Isabell Heinser play their bodies, they bend on the ground, stretch their hands in the black sky, sometimes they are one unit, sometimes torn apart. There is a scene in "Tosterasta" when Harald Schulte balances on tiptoe for a few minutes on the edge of the abyss. The three dancers have turned their backs to him. Then Schulte goes back into the room. And suddenly comes out the front of the scenery. He goes upright. His steps are still echoing.

"Tosterasta is a piece that makes sense to everyone. (...) The facets of life are presented to the viewer here. Pictures he knows. He begins to think .... "" I sometimes think of an understandable life, "reads a line of poetry by Bodack. The Compagnie Danse Automatique, directed by Moritz Pankoks and the choreographic director Harald Schultes, gives no definitive answer to this problem, but it makes the audience attentive and curious. On her own life

The body: flexible and flexible. (...) The dancers thrust wildly, sometimes they stretch their arms forward, roll their heads and bend their bodies to the point of distortion. The music changes from cheerful birdsong into deep basses, they sink together and straighten up again, tensions are discharged in movements. A troubled inner life, in this box. Just like the artist's. The spectators thank it with a loud applause.

Five dancers, a stage designer, a composer and a musician explore the author's life and work at the premiere of "Tosterasta - The Secret Room". They present their perspectives in images of moving confrontation on stage. The interior space of the artist is full of powerful poetry, images of disturbing beauty and darkest moments - and full of the difficulty to communicate and be understood. But unlike the short life of the poet, everything here screams for life at any price.