media reviews /

Plateau’s “epic breadth”

A great review of the first foreign performance of Plateau. Thomas Linden in Koelnische Rundschau writes

With epic breadth, but also with many great images, with a cleverly ironic text and a well-rehearsed ensemble that moves like an oiled machine, the spectator is offered a concentrated dose of dance theatre performance.

reviews /

Parting Ways of bitter asymmetry

The three women, like in fairy tales, resemble many, but destiny set their course in bitter asymmetry.

First review of Parting Ways was published in an on-line magazine

reviews /

Ampelmenschen – review

under constant stress in merciless competition until the world collapses

Michael Scheiner writes about Ampelmenschen for the Mittelbayerishe Zeitung.
Read the whole review of Tanz.Fabrik!Sieben evening under this link

reviews /

Susanne Wolke reviews I fought Piranhas

Monika Witkowska from Poland danced to present the terrible political situation in her country, especially the attempt to tighten the abortion law, for which she received public applause.

Susanne Wolke in Donau Post

reviews /

Piranhas “the most interesting statement” of Gdańsk Dance Festival

definitely the most interesting is the statement by Monika Witkowska, addressing an important topic (calling it "feminist" would be another condemnation to the sex ghetto, a universal problem), verbal message enriching with a strong, expressive, consciously non-defective movement.

Mirosław Baran after Gdańsk Dance Festival.
review link [in Polish]

reviews /

Difference and Repetition – review by Hanna Raszewska

“Each part of the diptych could function as an independent whole, being a bodily representation of philosophical considerations. Yet together they successfully form a coherent performance, where the three performers differ enough, to make the repetition intriguing.” – Hanna Raszewska 
reviews /

Room 40 reviewed in Dans Magazine

“The many foreign dance representatives and journalists, who attended the Polish Dance Platform in Lublin, were impressed by Maciej Kuźmiński’s choreography and the rawness of the performance itself.” – Joost Gouziers