Katharina Christl was born in Dresden (Germany) in 1979.

From 1990 to 1996, she trains at the Palucca Schule – Hochschule für Tanz in Dresden.

Then all through her career and up to now, she improves her dancing with teachers such as Ori Flomin, Ted Stoffer, Libby Farr, Aaron Watkin, Laura Graham, Inaki Azpillaga, Mariah Maloney, Jason Beechey, Timothy Couchman, Keren Levi …

As early as 1996, when she graduates, she appears in many shows and performances at the theatre and dance : « Reduktion » - Ralf Zschorn Gallerie Dresden 1998, « Untitled 1 » - Technischen Sammlungen Dresden 1998, « Don’t Panic – The Musical » - Industriegelaende Dresden 1999, « Kammer 8 » - Stadtfest Dresden 1999, « Untitled 2 » - CYNETart 1999, « Viseosynkrasis » - CYNETart 2000, « Rendez-vous sacral » / Rolf Dennemann - 7. Internationale Tanzwoche Dresden, « Le Sacre » / Frank Lohman …

She begins collaborating with Frédéric Flamand at the World Exhibition of Hanover in 2000, where she takes part as a dancer in the project “The Future of Work” elaborated with the architect Jean Nouvel.

In 2001, she joins the Charles Roi / Danses company – Plan K headed by Frédéric Flamand in Belgium.

She dances in « Moving Target » (Flamand/Diller+Scofidio), « Metapolis » (Flamand/Hadid), « Body/Work/Leisure » (Flamand/Nouvel) and « Silent Collisions » (Flamand/Mayne) created for the Biennal of Venice in 2003.

Appointed soloist dancer by Frederic Flamand at the National Ballet of Marseille in January 2005, she features in every creation by Fredric Flamand listed in the repertoire of the ballet: « La Cité radieuse », Silent Collisions » and Metapolis II » ; but also « Le Sacre du Printemps – Full Half Wrong » by Stephen Petronio and « Vado Mori » by Pascal Touzeau.

At the same time, she dances in « Untitled » (2006) by Toshiko Oiwa, and is a dancer at Ballet Preljocaj, and creates for Ouverture #6 / with a free hand for the BNM’s dancers.

Interested in developing her teaching skills, she gives master-classes on the work of Frederic Flamand when on tour and to the trainees of the program D.A.N.C.E. At the ballet or within the context of special sessions, she is regularly invited to give contemporary lessons. In June, 2012, at the request of Michel Kelemenis, she creates with him an duet " le Sixième pas ", registered today on the repertoire of the BNM.

Katharina CHRISTL