In the Bushes: Léa Tirabasso’s Surreal Fringe Dance Debut

Léa Tirabasso’s In the Bushes Premieres 13 August

“I started dancing early, like many people. I fell in love with the sound of pointe shoes when I was little—that’s what hooked me,” says choreographer Léa Tirabasso, as she prepares to debut In the Bushes at the Edinburgh Festival Fringe, opening 13 August 2025 in Summerhall’s Main Hall. In an exclusive interview, Tirabasso shares her vision for this dance work, running 13–25 August (excluding 19th), which probes human evolution with fierce joy.

Billed as a surreal celebration of life’s contradictions, In the Bushes marks Tirabasso’s first Fringe performance, a vibrant milestone for the Luxembourg-based artist whose journey from France to global stages seeks to infuse the show with philosophical depth and playful absurdity.

From Pointe Shoes to Global Stages

Tirabasso’s dance career began in France with a childhood passion. “In high school, I moved to a big city in France for special dance training while still attending school,” she recalls. A detour into academia reshaped her perspective: “Then I took a break from dance to study art history and literature. I found my way back through visual arts, discovering Fluxus and happenings. That opened my eyes to the body as a space for research and exploration, not just in dance but in performing arts broadly. That restarted my journey.”

After a BA in modern literature and art history, she declined an MA to train at London Contemporary Dance School. “I had applied for an MA in contemporary arts, thinking I’d return to art history, but I declined it to fully commit to dance,” she says. She danced for nine years across Europe: “I worked as a dancer for eight or nine years in London, Germany, Luxembourg, and France.”

“That opened my eyes to the body as a space for research and exploration, not just in dance but in performing arts broadly.”

In 2012, while with a German state theatre, she began choreographing: “I began creating my own work. We had the chance to choreograph for our colleagues once a year, and I loved it.” Her works, like The Ephemeral Life of an Octopus (2019) and Starving Dingoes (2021), have toured globally, earning her the 2023 Lëtzebuerger Danzpräis from Luxembourg’s cultural ministry. Her choreography blends philosophy and movement, drawing on influences like Fluxus, which she encountered in Lyon, and her experiences in diverse dance scenes across Europe.

Preparing for a Fringe debut

Tirabasso’s Fringe adventure, supported by Luxembourg’s cultural initiatives, fulfills a personal dream. “My husband has performed at the Fringe six times, so I’ve been many times to support him, flyering, watching his show daily, cheering from the audience,” she says. “I’m based in London but originally from Luxembourg, where, for the past two years, they’ve been supporting artists to present work at the Fringe. We premiered In the Bushes last November, and I applied, thinking it’d be great to bring my own work this time.”

This year, her husband also brings his show (The Nature of Forgetting, Theatre Re) to the Fringe so the two of them will be switching between childcare and shows. Juggling is clearly another skill enjoyed by Léa and her family!

Family life clearly grounds her: “Monday mornings with the school run are always joyful, you know? … Kids have this ability to ground you in what’s real and important. Their energy will keep me centered.”

From Family to Philosophy

This family inclusive approach speaks to multifacted preparation: “I’ve been preparing on multiple fronts. On the production side, we’re figuring out how to talk about the show. It’s rooted in dance but accessible to a general audience. It’s funny, absurd, sometimes dark, and very much about moving bodies.”

**Léa Tirabasso’s In the bushes (c) Bohumil KOSTOHRYZ**

As with everything, her expectations are nuanced: “I’ve been thinking about what I want to gain from the Fringe. I hope professionals see the work, leading to a tour, but a tour is only exciting if the work reaches as many people as possible. I want audiences to experience and explore it.” Summerhall’s reputation sealed her choice: “Summerhall is where I’d always go to watch shows when supporting my husband at the Fringe. It’s the only venue I wanted to be part of. I’m so proud and honored to be in their program—I respect their edgy, boundary-pushing, thought-provoking artistic line.”

Crafting a Secret Society

In the Bushes, co-produced by Les Théâtres de la Ville de Luxembourg and The Place London, draws on Henry Gee’s The Accidental Species. Tirabasso’s pitch is vivid: “Imagine you’re walking, hear a noise, push aside the leaves of a bush, and find a secret society that’s evolved without societal conventions—free from stigma, shame, and full of joy.” Six dancers—Catarina Barbosa, Georges Maikel Pires Monteiro, Karl Fagerlund Brekke, Laura Lorenzi, Mayowa Ogunnaike, and Stefania Pinato—bring it to life, with a cinematic score by Johanna Bramli and Ed Chivers, quirky costumes by Jennifer Lopes Santos, and atmospheric lighting by Ben Moon.

Collaboration was key: “It’s incredibly rewarding and refreshing. It’s a space to exchange, discuss, and debate… It’s been a joyful, healthy process because communication has always been fluid.” She built her team through trust: “Some I’ve worked with for three years, others are new collaborators. I value building strong relationships with the people I work with and tend to be loyal to them… I found them through auditions, classes, seeing them perform on stage, or recommendations from other collaborators.”

Embracing Absurdity

Tirabasso’s choreography seeks raw expression: “I’m searching for liberated bodies that stumble—tense, spontaneous, explosive, and liberated. I’m drawn to vocal bodies, where movement creates sound.” She deconstructs narrative: “I wanted to play with dramaturgy differently, deconstructing my usual approach. I aimed for scenes that don’t necessarily connect meaningfully, creating a flattened, open-ended visual experience.” The visual design is minimal: “This time, I wanted an empty stage, nothing but the body, though we do use smoke… to fill the space atmospherically.” Her costume collaboration was bold: “For this piece, I challenged myself visually… I worked with a costume designer, Jennifer Lopes Santos, for the first time. She was my go-to person, and collaborating with her was incredible.” The show’s levity was intentional: “One of my starting points for the show was a need to laugh and be light.”

“I’m searching for liberated bodies that stumble—tense, spontaneous, explosive, and liberated. I’m drawn to vocal bodies, where movement creates sound.”

It’s all about joy

Tirabasso’s excitement for the Fringe is palpable: “I’m buzzing with excitement. I love the festival vibe—we performed my last show at the Avignon Festival three years ago, and it was similar. I can’t wait.” She hopes to connect broadly: “I’m just enthusiastic about sharing the work.”

For Léa Tirabasso sharing is caring, but it’s ok if her work isn’t for you: “I keep reminding myself that being at the Fringe is an achievement in itself. Creating a show with six dancers, a beautiful score by amazing composers, stunning lighting and costumes, and a collaborative team—making the work I wanted without compromise—is a success… I remind myself that not everyone has to love the work. It’s okay… The worst would be if it left them indifferent.”

Featured Image: Lea Tirabasso (c) Patrice Tirabasso