SCENA (3/2007)
Julia Hoczyk

Hardly a formalisedperformance What would you do if you could do what you canít... infects with the joy of dance and meeting in movement...

The performance starts with pushy thanks-giving to the master of ceremony and clapping him out of the stage. At the very beginning everything seems amazingly credible and honest. Then an ill-awaited pest struggles with the longish title and manages the English version with incredible ease as his body enters the state of swinging movements. Dancers infest the audience, dancers run in the aisles, borrow props and do hand stands mocking a contemporary dance warm-up.

The performance continues in the self-centered and unforeseeable mode till the moment when dancers unite their forces. Searching for new ways of movement, they build weird body-structures and adjust with one another. Their spontaneous and joyous movements are contact improvisation based.

Dancers throw away their shirts and pull up each otherís trousers. Breathing in one rhythm, they make one pulsating and moving unit. Their eye-catching body mass splits into different parts again and again. Finally, they put on their coats and run about madly playing with an inflatable plastic frog. Even when the curtain falls, they keep playing undisturbed by anything around...and disappear only after a long while.

So, what would you... would you be able to get rid of the inner limits and throw yourself into a lively joy of movement? Without thinking, without analysing but delighting in the company of others here and now... The flowing bodies carry away the whole audience and infect them with cheerful vibrations.


SCENA (2006)
Julia Hoczyk

Sin Piel

[...] Wearing transparent, white dresses, the dancers presented a bodily etude on female encounters, feelings and thoughts. [The title of the performance] "Sin Piel" is the Spanish equivalent for "skinless". Artaud, in turn, calls actors "skinned people". Tension built through movement is very intensive. The dancers are women touched by the desire for food, life, intimacy, tenderness and physical love; and women who transform into one inexhaustible hunger visible in tiny muscle movements and painful muscle strain. Once in a while, they yield to the outer pressure and let their habits guide them. Then, their movements become automatic. Again, after a while, they beat their habits and cry for help, either in silence or in a whisper, like insects lying on their backs. They go beyond body abilities as if trying to prove they could do the impossible, meeting physical and spiritual desires half-way. [...]


Bulletin of the 33rd Theatre Festival of Tychy (2006)
Ewa Debska

Hey

[...] The Dance Theatre from Kalisz gave a witty performance about "boys and girls", their growing bodies and developing sexuality. Through the form of dance theatre, they perfectly showed the process of growing up, discovering oneself and the partner. "Hey" was danced in a light and agile way. Excellent technique was deftly combined into both a complete story and a complete choreography. Perfectly chosen music, adding melody and rhythm to movements, was a kind of music jest. Beside high technique, the dancers managed to build pronounced dance relations with each other. Listening to their partners' bodies, Alter young females tactfully co-danced, not losing dramatic tension of movement. Males, in turn, added individuality to their dance, which though performed in synchrony, did not always prove their value. [...]


DANCE EUROPE (October 2002)
Donald Hutera

Third eye

†[...] The impish rite of passage by Jurewicz starts when six feather-clad women enter the stage like a gaggle of walking geese. Their synchrony is disrupted by three dark-dressed men. The movement of males flirting with females - Eves eating apples - goes into still rougher and gloomier areas. Being laid down on the floor, funny chest-like wardrobes change into tombs in which women are seduced and finally buried. Whether this scene is a comment on the reality or a presentation of the director's view remains a question. Still, winsome characters manage the eerie course of action with conviction and confidence. [...]


KALISIA NOWA (4{90} April 2002)
Robert Kucinski

Third eye

[...] The Festival audience most welcomed the 3rd equal prize for Alter Dance Theatre of Kalisz. Choreographed by Jurewicz, the "Third Eye" was one of the wittiest performances of the Festival. This latest choreography of Alter is a humorous study on ubiquitous evaluation and self-evaluation; a study which shows how people continually adjust their personal image to social norms. Whereas some taunted the spectacle with too long scenes and too shallow a point, others highlighted the form of stage expression. Member of the jury, Jhesus Aponte, was one of Alter fans. This American choreographer and teacher said: "It's a commercial performance, but such performances are appreciated in the US. They appeal to great audiences. Either to me".


KURIER LUBELSKI (17th November 1997)
Brigida

Below heaven - sex in the Polish way

[...] undoubtedly, Alter Dance Theatre is among those who have won the hearts of the Festival audience. In "Below heaven - sex in the Polish way", Alter shows how amusing life is and proves that a simple story may be presented in an interesting way. Completing the choreography, brave young dancers treat their own characters with a pinch of salt. Their self-irony helps them to be as attention catching as the plot itself.†


Periphery (publ. 4/5, 1998/1999)
Energy and Quality: Contemporary Dance - performances and reviews.
Linda Caldwell

Below heaven - sex in the Polish way

Witty as it is, the performance ["Below heaven - sex in the Polish way"], first and foremost, relies on the bold and risky use of physicality. Such handling of the body, handing over the weight by falling into the arms of other dancers, falling and jumping, and everything in accordance with the perfect rhythmic structure of Polish folk songs, present emotional world bursting at the seams. Like many artists fascinated by contact improvisation, which originated in the 1970s in the US, Jurewicz adapts its rules for his work in dance theatre. He uses partnering techniques as part of a precise and witty scenario commenting on human relationships. Out of simple and mundane gestures, Jurewicz creates a world-known body language, physically challenging his dancers.†

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