Caroline Beach is a Texas born choreographer, performer, dancer, musician, and well-rounded nonsense person based in Dresden and Berlin. She has made work for a multitude of spaces including theaters, dance universities, off-spaces, and most recently, her furniture.  


Her work is interdisciplinary in nature but finds its roots in the lived experiences of the body.  She is interested in making process-based art that reveals the complex ecologies of both humans and non-humans, the mathematical logic of absurdity, and the profound empathy that can be found through rituals of failure.  

She holds an MA in Choreography from the Palucca Hochschule für Tanz Dresden, is a guest artist for the Dresden Semperoper Ballett, performs with Go Plastic, and collaborates frequently with other artists.


Sailor_Log:  the third ocean

Sailor* is sailing through the precarious waters of studio work. One Sailor finds instruments important in order to build imaginary landscapes that perform basic emotions and movements, adding body to a skeleton. The other Sailor is more concerned with discovering the body of space itself, cutting off various heads and hands in order to dissolve the state. But in both cases, the image loses its body and approaches death. They find themselves in a radio station in outer space that never plays Sailor’s favorite song. Here they must find a new way, a third way, to communicate with each other in the place beyond language, beyond power. Ahoi! The third ocean offers itself. Folklore, Glitch, Pop, and the Reverse Engineered Void.

Sailor_Log: the Third Ocean was a collaboration between Caroline Beach and the artist Ernst Markus Stein.  They went sailing and researching together in Ljubljana, Slovenia in a residency coordinated and made possible by En-Knap Dance Group, Hellerau Europäische Zentrum der Künste Dresden, and Tanzpakt Dresden. They were influenced by the people they met in Ljubljana, the history of the country, the architecture that they said hello to on their walk to the studio, and the way that ‘thank you’ rhymes with Koala in Slovenian.  Their research has focused on finding the overlaps and distances in their respective fields, building bridges through old mediums and writing new languages that are better than compromises.

Host Body Cabaret:  a pop-up performance

was a Pop-up performance. Supported by the TanzNetzDresden.  And the C. Rockefeller Center for the Contemporary arts. Hosted by hi-jacked bodies on the edge of biological separatism. Temporary alliances formed by giving high-fives to low frequencies. Performing body drag for an audience of poetic napkins. Wipe off your humanity and reclaim your fish spine. Fish nets are free radicals and even the orchestra is beautiful. At any given moment the threat of an outbreak of song dance or botulism looms large. Hybrid sensations seduce with a slow stripping of binary definitions. Prosthetics. Prophetics. And all that jazz.

OPOTFOTF:  a sensational soap opera musical

is a collaboration between the choreographers and performers Caroline Beach, Susan Schubert, and Magdalena Weniger.  Exploring hyper-normalization, absurdity, performed songs, and melodrama, OPOTFOTF takes the audience on a journey that is a wild curve through the chaos of our daily lives.  

your triumphs and your charms

 is a solo performance piece examining body dysmoprhia, the subtexts of pop songs, and the trouble with saying what you mean through movement.  It follows Sailor on her journey through a disjointed daytime television show and the The Smiths' song 'I Know it's Over'.

This Diamond Salt-Lick Future

This Diamond Salt-Lick Future follows a Zeus trapped on an Olympus that is now an island, a toxic wasteland, or a mental prison, in which he is obliged to work as a tour guide for the piece’s namesake company, performing all too human tricks for the tourists dressed up as an audience.  He half-heartedly goes about his duties, all the while hoping that his lost daughter, Athena, will come to see his show. He sees her in the small pink cars washed up on his shores like fish, and hears her voice through the forrest of electrical cables.  He tries to sing for her, search for her, become her, attempting to force her into this body that he has been given, a female one, in order to reunite himself with his daughter that was once a part of himself. 


Touching on themes of  posthumanism, the liminal space of mental illness, and emergent structures, This DSLF creates a mythology of the body for this point in our collective history.  It looks forward to the end of essential narratives, the re-writing of wholeness, and the acceptance of fluid and partial identities that hold embodiment to be a fundamental part of the human exprerience.     


is a multi-disciplinary performance series developed by Caroline Beach and Ian Whalen.  It functions as a performative start-up company with the mantra 'In order to use the product, you must become the product.'  It looks at the ways in which hyper late-capitalism fractures and commodifies attention, bodies, and identities, blurs the lines between work and play, and creates subcultures of debauchery and mental illness as a reaction to and expectation of corporate structure.  AnnieQuinn tries to ask how we can re-negotiate our relationships with our own autonomy within hyperobjects and strives to place embodiment as a central part of the human experience.

The Beagle
The Beagle is a piece inspired by the solipsism of our overlapping lives, by the spontaneous worlds that are born and die between the hours of two and four in the morning, and by the paradox of ecstasy and hopelessness that presents itself to us at the edge of reason.  It is inspired by old songs, dive bars, and the eponymous poem by Charles Bukowski.  

The Beagle was supported by the Goethe Institut Bucharest and Paradise is Here.  It has been shown in Dresden, Bucharest, Venice, and Kiev.  Adapting to what home it finds, The Beagle can play in your favorite pub, local black-box theater, crust-punk off-space, industrial foyer or in your living room as it winds through its many possible characters, striking a humorous tone best heard by yourself.   

Two Hands in the Sun

Caroline Beach + Noah Punkt 

An exercise in personal branding, repetition, and carrying the weight of the world.  This mantra exhausts all possibilities of rising above expectation and examines the artist's daily task of pushing the rock up through an onslaught of applications, social media, and daily routine in order to get to the top of the hill.  It is two artists examining their struggles and finding a mutual point of resistance through failure, through letting the rock roll down, through taking the two hands down out of the sun.  

Orangez (2 US)


Orangez (2 US) was created for the American Dance Festival as part of the International Choreographic Residency Program. 

Music and Choreography: Caroline Beach  

Dancers:  Patricka James, Meredith Mulligan, Demetrius Williams, Zakari Jaworski, Creszenz Bergmeier,Annie Lee

enter the pony
was a site-specific performance developed as part of PARKOUR DER GEGENWART, organized by the Alte-Feuerwache Loschwitz and the C. Rockefeller Center for the Concetomporary Arts.  It follows unity Shetland through the four stages of entrance:  Proto-Pony, Pseudo-Pony, Party-Pony, and Post-Pony.  Suffering an ontological crisis after reading Black Beauty for the thirteenth time, Unity realized that she needed a radically different approach to equestrianism:  she shouldn’t be getting back on the horse every time she fell off, she should be becoming the horse/fall.  Combining the intellectual rigor of third wave feminism with the practical know-how of pony grooming, Unity invites us to prance after the carrot on the stick all the way to the end, to transcend our essential selves to a more fluid, four-legged understanding of what the world could be.  


Alte Feuerwache Loschwitz, foto Lucie Freynhagen


“Just an animal in a zoo,

Come look at me and I’ll look back at you,

Come try to feed me through the bars,

Tell me my polar bear friends would really like it on Mars”

Haus_Pet is an interactive performance examining the context of our bodies, our need for validation, the sub-text of pop music and our changeable identities.  It encourages live documentation through social media as well as direct performer/audience interaction.

Litte Darling

collaboration with Ian Whalen and the performers

is a durational performance that was presented at the Kukulida e.V. Dresden.  Weaving together the story of the murder of JonBenét Ramsey and the structure of Hamlet, audience members were selected five at a time to go to the 'waiting room' in which they were examined by a doctor.  Afterwards, they were asked to crawl down a ladder into a basement, where they would find themselves confronted with a lot of spilled milk, a ghost singing Britney Spears, and two strange gentlemen who had developed their own method for signing the papers.  A performance that was based through hearsay, exception, and grand finale pageantry, Little Darling has no clear winners and leaves few characters left alive to tell the tale.  






Radical Softness 

in collaboration with Charles Washington
"The future is what will happen in the time after the present.  Its arrival is considered inevitable due to the existence of time and the laws of physics. In the philosophy of time, presentism is the belief that only the present exists in light pink bubbles that expand and contract according to the global technology environment."                               

Inspired by watching a post-Trump America across an ocean, we developed this performance practice to confront the nihilism that can grow when we ask oursleves what we can do as individuals in the face of global issues that make us feel powerless.  By pitting issues of existential risk next to daily trivialities, a state of necessary contradiction is created in order to confront the absurdity that governs are perception as well as our world.  Performed here at Modular Space Gallery, the Greenhouse, Berlin.  All artwork by Stefan Brock. 

Squeeze the Lemon

Squeeze the Lemon is an interactive performance piece that asks us how to get beyond the liminal rind to the bitter juice itself.  Offering both traditional and non-traditional lemons and an array of garden shed tools, this piece leaves no lemons standing and very few clean shoes.       

Cocktail Napkin is the new creative alias for Casey Ouzounis and Caroline Beach's musical endeavors.  Together they like to play with how pop wraps culture in bodies, bending gender and identities through their performances in a way that is both satyrical and earnest. Mixing iconography, semiotics, and Really Good Costume Changes Cocktail Napkin create an experience that is on the fringe of something if you could just put your fingers on the glass itself. 

photo  João V. de Carvalho

©2017 by caroline beach. All photos by Ian Whalen Photography.