The solo, danced by the fabulous freelance dancer Sahra Huby, was spellbinding. Huby’s register of anger spanned cartoon-like movements, repressed anger that distorted the body, anger that welled up from her toes and tried to escape through her mouth, aggressive typically masculine gestures and much more. 

14.06.21  Jeannette Andersen 


Huby rushes through her half-hour solo, choreographed by Anna Konjetzky, as though she had springs under all of her limbs. “Move More Morph It!” is a highly exciting meeting between her rubber ball body and a table (…)

Huby can be a lion and make her entire body roar – a robot or an inflated animal that you let the air out of.

Be a lion! Make body music!  

The dancer Sahra Huby impress with an amazing bodycontrol, she isolates bodyparts to create convulsive mouvements wich doesn´t look human anymore. 

Abendzeitung: Michael Stadler 10.10.14

„...But the most fun was the intimate „Dance Kitchen“ from the lighting clever Sahra Huby, who translated her findings directlyinto dance, and so physicalises them, creating an “Aha” moment  for the audience. „              

                                               Eva-Elisabeth Fischer Süddeutsche Zeitung 16.10.2018


„...A delicacy was to taste in Sahra Huby’s „Dance Kitchen“: an invitation in an almost private space, a fleeting look inside the cooking pot of an extraordinary dancer was expected, but the evening turned out to be a surprise parcel full of such dramaturgical finesse and clever guidance of the audience that one urgently wants to advise it to other artists for some coaching.“

                                 Sabine Leucht- Münchner Feuilleton November edition 2018

Konjetzkys langjährige Muse Sahra Huby ist die ideale Besetzung für die Tour de Force. Leicht und biegsam, gleichzeitig sportlich und zäh, ist sie jederzeit bereit, sich mit der vom Würfelsystem geforderten Attitüde ins nächste Himmelfahrtskommando zu stürzen. (…)

Entsprechender Respekt gebührt Sahra Huby. Ein einstündiges Solo von so einem Kaliber macht man vermutlich nicht oft im Leben. Konjetzky hält mit „Chipping“ ihren eigenen Maßstab, ihre Protagonistin übertrifft sich diesmal selbst.

Accesstodance/Kulturvollzug‚ 09.10.2014 // Autor: Isabel Winklbauer

„But above all, it‘s about the ideas that show up there. Black on white, a little colour. Surreal sensitivities

that are more meaningful than some realistic everyday descriptions in times of Corona. A

couple kissing and wearing a mask like a privacy screen hanging on the ears of each other. A figure

that looks inside herself, opened like a book. Another one that flies up from a sofa, held only by thin

threads, and yet casts a shadow.“

Petra Herrmann, Kultura-extra, 28.6.2020