Upcoming 2026
About me
How puppetry came about
My intuition had led me to pursue art at an early age, so I got into an Acting training. I didn’t know exactly what was missing until I took part in an object theatre workshop. The expansion of my expressive possibilities brought up the boundless creativity in me, which had the unmistakable power: a world full of poetry, metaphorical images and childlike fun.
That’s how I discovered puppet theatre in addition to acting, and with that, I found the niche for my best artistic development.
With this novel interest, I applied for the Hochschule für Schauspielkunst „Ernst Busch“ in Berlin to study contemporary puppetry. Since graduating from „Ernst Busch“, I have been working freelance (currently from Leipzig) and incorporating a wide variety of theatrical forms in different constellations.
The Vision
The material comes to life
For me, the theatre of things means taking a step in poetry. Behind everyday objects, stories and people hides the invisible, the wonderful, the indescribable. The manifold manifestations of puppetry are the means for me to explore the limits of form, to reverse perspectives, to turn physical rules upside down, and to expand my artistic imagination.
Testimonials
What People say
Jakob Bonderup - Principal of Engelsholm Højskole - Chairman of the Board of The Jutland Art Foundation, 2024
-Paperlicious -
The performance is at once virtuosic, poetic, dark and humorous. The two puppeteers, Evi and Bianka, are eminent in their mastery of the sometimes enormous paper puppets that miraculously come to life in their hands. The show is both traditional and modern in its mix of mime, newly produced music and a strong narrative.
There was enthusiasm (standing applause) from all age groups and the conversation went on for days afterwards. The performance is highly recommended.
Honke Rambow, fidena
- Frankenstein -
In the opera, the monster is supposed to be embodied by a puppet. This may be the reason why it is now on the program for the opening of the season in Gelsenkirchen. Above all, it offers an excellent opportunity for the recently founded puppetry department to introduce itself to the house. Evi Arnsbjerg Brygmann, Bianka Drozdik and Eileen von Hoyningen Huene not only operate the almost two meter tall puppet, which was designed and built by Karin Tiefensee and Ingo Mewes, they also take turns to lend their voices to the monster, speak narrative texts and sing short passages. It’s all very impressive. It only takes a few moments for the three players to merge with the puppet to such an extent that they seem to be mere shadows next to the monster, which acts on its own. Almost paradoxically, the monster’s life of its own is made even more impressive by the fact that the players repeatedly interact directly with the doll, only to step back into the shadows again. That’s great class.
Wolfgang Schilling
- der himmel ist ja da -
We experience a playful ensemble in which even the stage manager advances to become a teammate and dancer. The team around director Christian Franke tackles the major questions of social faith with ease. All of them are so young that they can hardly have experienced real existing socialism, at least in political consciousness. But with a bright head enough to want to question our really existing capitalist present.
Elisabeth Höving
- disconnect -
Bianka Drozdik and her partner, Eileen von Hoyningen Huene tell the story with flashbacks to childhood, how two young women meet at a party. How they find each other as a couple. And how a deadly treacherous disease – Covid 19 according to the data – causes one to sneak out of the other’s life through death, leaving the other in suffocating loneliness. This is a performance of strong feelings, admirably haunting and authentically played.