Jule Flierl can fly in her dreams. It’s that feeling she searches when dancing and singing. She asks herself how the baroque Bel-Canto voice would inhabit the gestures of romantic ballet (Operation Orpheus 2016), how the anti propaganda of Valeska Gert’s dancing tones in the Weimar Republic would have sounded (Störlaut 2018) and how to choreograph the separation of body image and vocal sound of Katalin Ladik’s avant-garde performances during the Cold War (U.F.O. 2021). She is fascinated how conceptions of the body change over time and that the voice as a technology of the self always finds new relations to the body.