Ella Rothschild (born 1984) is a choreographer, dancer, and multidisciplinary artist. She is known for her experimental dance-theatre works presented by international companies including Batsheva Dance Company, Opera Ballet Vlaanderen, and Nederlands Dans Theater.
Rothschild was born in Israel. She began her career performing with the Inbal Pinto and Avshalom Pollak Dance Company, and later joined Batsheva Dance Company under the artistic direction of Ohad Naharin.
Rothschild is a dancer with Kidd Pivot, the contemporary danceâÂÂtheatre company led by choreographer Crystal Pite.
She performed in Revisor (2019), a hybrid dance-theatre production by Kidd Pivot choreographed by Crystal Pite and Jonathon Young. In the ensemble of eight dancers, she was noted in reviews as âÂÂa standout villain as Minister Desouza.âÂÂ
Rothschild has performed in Assembly Hall (2023). A dance-theatre hybrid by Kidd Pivot that premiered at DanceHouse in Vancouver before touring internationally.
In 2021, Rothschild created a trilogy of works for Batsheva Dance Company: Summer Snow, On the Edge of Nowhere, and A Year Without Summer.
During a residency, Rothschild developed the dance-film Pigulim, which was presented as part of Baryshnikov Arts CenterâÂÂs digital season in late 2021.
In 2023, Rothschild reinterpreted Petrushka for Opera Ballet Vlaanderen, relocating the classic balletâÂÂs setting to a wilderness landscape.
In 2024, Rothschild created a new piece titled This Solution in The Hague. The work premiered on 5 July 2024. According to NDT, the piece explored characters inhabiting inherited objects, each carrying emotional weight and forming a narrative of resistance, dissolution, and collective unity.
Rothschild held a residency at the Baryshnikov Arts Center in New York and participated in the Suzanne Dellal CentreâÂÂs inaugural artist-in-residence program, where she created Pigulim.
Bachtrack described the production as âÂÂa stripped-back rethinking of the original⦠parableâ featuring âÂÂa wooden donkeyâ in the starring role. De Morgen noted the eveningâÂÂs visual richness, describing âÂÂa poetic puppet of early life and hope,â and commented that the choreography leaned toward contemplative rather than kinetic expression.