Di Anima et di corpo


Choreography: Anna Mustonen
Dance: Saara Töyrylä
Harpsichord: Marianna Henriksson
Soprano: Katja Vaahtera
Lighting design: Anna Pöllänen

Premiere and performances 
12. - 21.10.2012
Zodiak Center for New Dance

Performed also at Full Moon Dance Festival, July 2013

Sometimes music made their inner balance unstable: Shivering lips, sudden change in the shade of the face, slowing pulse, abrupt movement of limbs, release of tension in the jaw, the grinding of teeth, the swelling of blood vessels, uncontrollable gestures, wheezing breath.
Di anima et di corpo is a concert or performance of intense emotions, combining 17th century cembalo music and singing to new dance. According to the Doctrine of Affects, theory of music in the Baroque era, the function of music was to affect the listener’s body and emotions. Music was capable of arousing specific emotions within the listener, causing physical reactions. How can one move the souls of modern-day spectators?

Joskus musiikki sai heidän sisäisen balanssinsa horjumaan: Värisevät huulet, yhtäkkinen kasvojen värin muutos, pulssin hidastuminen, kiivas raajojen liike, leukojen rentoutuminen, hampaiden kiristely, verisuonien turpoaminen, hallitsematon elehdintä, vinkuva hengitys.

Di anima et di corpo on konsertin ja tanssiteoksen rajaseudulla liikkuva sekä äärimmäisten tunnetilojen välillä kulkeva esitys, jossa 1600-luvun cembalo- ja laulumusiikki yhdistyy uuteen tanssiin. Työryhmä lähestyy esityksen tekemistä barokin ajan affektiopin kautta, jonka mukaan musiikin tarkoituksena oli vaikuttaa suoraan vastaanottajansa ruumiiseen ja sitä kautta tämän tunteisiin. Musiikin vaikutus tapahtui synnyttämällä sielun liikkeitä eli affekteja, jotka saivat aikaan fyysisiä reaktioita. Miten nykykatsojan sielu saadaan liikkeelle?


Thank You For Your Love

photo: Heidi Lind 

Choreography and dance:
Anna Mustonen & Masi Tiitta

Premiere 5.5.2011
Kutomo, Turku

Zodiak Center for New Dance

The materials of the performance consist of pop-songs with lyrics dealing with missing, bodies containing memories of love and audience which is positioned as lovers. The piece is researching the performer-audience relation through the gaze of the one in love as well as through surrendering oneself to be seen. The movement of this dance performance happens by exchanging the gaze, proposing and seducting. 

The performance aims to be conscious of the long history of love duets in the field of dance. It uses the preconseptions of female-male couple on stage. The absence of the loved one has created countless lieds, folk songs, chansons. Love has been portrayed in numerous duets. Our performance is a part of the endless continuum of love duets. 

photo: Johanna Tirronen

If another person by chance or accident gives me a number where they can be reached at this or that time, I immediately begin to panic; do I have to call or shouldn't I? Should I attempt to create the perfect text message or instead concentrate on creating the perfect performance?

If the one in love creates or puts together even a small thing, he or she is overcome with an instinctive frenzy to dedicate it. He or she wants to give whatever they put together immediately, even beforehand, to their beloved, the one they have been working for.

A gift to the beloved is ceremonial; I transfer myself into it entirely. A gift to the beloved is searched for and chosen amidst great excitement – my excitement is so grandiose that it feels like it belongs in the category of pleasure.

Talking about love always involves a person that is addressed, even if this person has changed into a ghost or a being of the future. Who would, after all, feel like talking about love other than for someone. This performance is a gift to you.

The absence of the loved one has created countless lieds, folk songs, chansons. Love has been portrayed in numerous duets. Our performance is a part of the endless continuum of love duets. 

Roland Barthes' book A Lover's Discourse: Fragments has been used as a source material for the text.


un fit

installation and 

Anna Mustonen
Jasmin Mishima 
Federico Cabrera
Timo Wright
Heidi Lind
Saara Töyrylä
Masi Tiitta

photo: Timo Wright

                                                                  HELSINKI 2012
Boutique exhibition at Amos Anderson Art Museum 
curated by Annamari Vänskä

                                                                 NEW YORK 2013
15th November 2013, 7pm and 8pm
17th November 2pm and 3pm
Parsons the New School for Design
curated by Annamari Vänskä and Hazel Clark

photos: Ilari Laamanen

un fit brings together dance, fashion, sound and video art. The work consists of a performance and an installation. It deals with the relationship between the almost immaterial body of fashion and a material body that exceeds the strict boundaries posed by fashion. The piece especially focuses on the interface between clothing and the body and how the forms, material and style of clothing molds the possibilities of being and doing in the world.



A music theatre collaboration between Theatre Academy, Aalto University and Sibelius Academy. Premiere 9.3.2012 Mediakeskus Lume, Helsinki

photos: Kai Bäckström

Part 3 - Lopun Alku
Choreography: Anna Mustonen
Composition: Joonas Outakoski
Dramaturgy: Salla Viikka
Set Design: Jonna Kuittinen
Light Design: Teo Lanerva
Performers: Iida-Maria Heinonen, Hanna Mönkäre, Minna Karttunen, Tuomas Mikkola, Elisa Tuovila, Satu Rinnetmäki, Soili Huhtanen, Sini Siipola, Arttu Wäänänen, Panu Heiskanen, Sanni Giordani, Veronika Lindberg, Maria Autio


Song of Butterflies

Made by and with:
Anna-Mari Karvonen
Anna Mustonen
Masi Tiitta
Saara Töyrylä

Performances in Brussels, Barcelona, Berlin and Turku 
during autumn 2011.


I think you should wear something yellow

photo: Tristan Perez 

Choreography and dance:
Anna Mustonen & Mireia de Querol

Premiere 12th August 2011
La Caldera, Barcelona


Und er libet:
The Lightness and Death of Giselle

photo: Uupi Tirronen

Choreography, direction: Anna-Mari Karvonen & Anna Mustonen
Performers: Saku Koistinen, Ville Ahonen, Robert Brotherus, Miikka Tuominen Masi Tiitta, Saara Töyrylä, Outi Condit, Vida Hulkko
Sound design: Heidi Lind
Lightning design: Hanna Käyhkö, Ainu Palmu
Set design: Hanna Käyhkö, Milja Aho
Costume design: Laura Käyhkö

Premiere 30.10.2010 
Moving in November Festival 
Zodiak - Center for New Dance

The piece has toured at Stamsund Internasjonale Teaterfestival Norway and at Teatre de Gennevilliers France during May 2011. 

The Lightness and Death of Giselle is the group Und er libet's performance, which was premiered at Zodiak – The Center for New Dance at the Moving in November festival 2010. The performance utilizes the means of theater and dance, as well as humor and elements of tragedy. On stage are eight distinct performers between the ages of 12 and 33. Each individual approaches the lightness of being present and the abundance of materials through their subjective history and way of being. The group is composed of dancers, actors, musicians and teenagers.

The performance begins from a pile of trash, from which the performers on stage sketch scenes in which unfinished and trivial things alternate with things that are refined and polished. Inspired by the ballet Giselle, the group has prepared scenes of love and madness. Overall, the ideas for pas de deux, solo and choir scenes have been borrowed from the tradition of ballet, and the straight lines and order of height typical to ballet are given new interpretations. The performance that floats on light-heartedness or even emptiness sinks into dark and heavy materials towards the end. The performance submerges into the question of portraying death by presenting, for example, bodies glowing in black-light and a noise inspired soundscape that resonates in the body of the viewer. 

One of the central starting points for the Lightness and Death of Giselle was to approach the romantic themes of love, lightness and death, that are so crucial to adolescent life. Another aspiration was to find a dramaturgy and aesthetic style that would not aim to create an intact form or logic, but instead be able to create surprises with its ways of progressing fearlessly from one style and material to another. At the ending point of the long practice period, in the show that is, lightness and death are most apparently realized in the way materials transform; that which is joyful becomes serious, or those things that are vague becomes virtuosic and bright. The spectators of the performances have been both baffled and flattered by the unpredictability of the performance and the admirable spontaneity of the performer's ways of being onstage. 


a piece

photo: Timo Wright 

Choreography: Anna Mustonen
Performers: Rea-Liina Brunou, Anna Mustonen,
Saara Töyrylä, Emmi Venna
Musician: Marianna Henriksson
Lightning design: Vespa Laine
Set design: Laura Poranen
Costume design: Masi Tiitta

Premiere 20.1.2010
Theatre Academy Helsinki