The Ephemeral life of an octopus, 2019
ENG
A poetic dash
That dance, which explains the unspeakable, (..), the hope, the passion of a fighting body, which makes tears run down, because that fucking disease seems human in its poetic dash, like Boris Vian's Nenuphar, and gives a certain pride to have hosted it in its body
Erin Penn, Land - LU -> full article
Expressive and multi-faceted, an emotional roller-coaster
Christine Mandy, Journal - LU -> full article
At once original in its statement, remarkable in its choreographic language and extremely well performed
Marie-Laure Rolland, La Glaneuse - LU -> full article
FR
Une course folle et poétique
Cette danse, qui explique l’indicible (..), l’espoir, la passion du corps qui se bat, fait couler des larmes, parce que cette putain de maladie, semble humaine dans sa course folle et poétique, comme le nénuphar de Boris Vian, et donne une certaine fierté de l’avoir hébergé dans son corps
Erin Penn, Land - LU -> full article
Expressive et aux multi facettes, un grand-huit émotionnel
Christine Mandy, Journal - LU -> full article
La pièce est à la fois originale dans son parti pris, remarquable dans son vocabulaire chorégraphique et extrêmement bien interprétée.
Marie-Laure Rolland, La Glaneuse - LU -> full article
ENG
A poetic dash
That dance, which explains the unspeakable, (..), the hope, the passion of a fighting body, which makes tears run down, because that fucking disease seems human in its poetic dash, like Boris Vian's Nenuphar, and gives a certain pride to have hosted it in its body
Erin Penn, Land - LU -> full article
Expressive and multi-faceted, an emotional roller-coaster
Christine Mandy, Journal - LU -> full article
At once original in its statement, remarkable in its choreographic language and extremely well performed
Marie-Laure Rolland, La Glaneuse - LU -> full article
FR
Une course folle et poétique
Cette danse, qui explique l’indicible (..), l’espoir, la passion du corps qui se bat, fait couler des larmes, parce que cette putain de maladie, semble humaine dans sa course folle et poétique, comme le nénuphar de Boris Vian, et donne une certaine fierté de l’avoir hébergé dans son corps
Erin Penn, Land - LU -> full article
Expressive et aux multi facettes, un grand-huit émotionnel
Christine Mandy, Journal - LU -> full article
La pièce est à la fois originale dans son parti pris, remarquable dans son vocabulaire chorégraphique et extrêmement bien interprétée.
Marie-Laure Rolland, La Glaneuse - LU -> full article
TOYS, 2017
ENG°"with a cast as outrageously physical as Joss Carter, James Finnemore, Elsa Petit, Georges Maikel Pires Monteiro and Rosie Terry Toogood, the balance is predestined to excess. Tirabasso nevertheless reins it all in with a simple expedient in the form of a prologue and an epilogue that remind us of the moral implications of the work."
Nicholas Minns, Writing about dance - UK
full article here°
ENG°"TOYS is absorbing and exhausting to watch. The ensemble work flat out. It’s compulsive viewing; Tirabasso deftly fashions a window onto humanity, a tribe fundamentally ill at ease with itself.
Philippa Newis - UK
full article here°
ENG° "Very anchored in our time. Like the characters of American Director Sofia Coppola. And if the comparison
is so tempting, it is that Léa Tirabasso shows on stage a certain golden youth who can afford the luxury of boredom. Nevertheless here, the varnish flakes quickly and the behaviours quickly turn into trash"
"It is bloodcurdling despite the fiery rhythms of Fever or Mighty real. It's very dark."
FR° "Très ancrés dans notre époque. A la manière des personnages de la réalisatrice américaine Sofia Coppola. Et si la comparaison est si tentante, c'est que Léa Tirabasso met en scène une certaine jeunesse dorée qui peut se payer le luxe de l'ennui. A la différence près qu'ici, le vernis s'écaille vite et les comportements virent vite au trash."
"Ça glace le sang et ce malgré les rythmes entraînants de Fever ou de Mighty real. C'est très noir dedans."
Florence Becanne, Le Jeudi - LU
ENG° "As time goes by, the sexual connotation becomes explicit while the gesture disintegrates. One thinks when seeing the dancers staggering about some bacchanalian ritual where the primitive and rude gaiety tries to hide an existential void."
FR° "Plus le temps passe, plus la connotation sexuelle devient explicite tandis que la gestuelle se délite. On pense en voyant les danseurs tituber à quelque rituel bachique où la gaieté primitive et grossière tente de cacher un vide existentiel."
Marie-Laure Rolland, Wort – LU
ENG° "There are ups and downs, haunting beats and folk rhythms, the bodies take all the music that is given to them in grazing, they only have this energy of rescue, the pleasure believed like buoy of survival, there is neither hell nor heaven nor escape possible. TOYS is a show of an every moment intensity, with dancers-actors investing their whole soul in a dizzying and brutal trip, on a hallucinatory soundtrack."
FR° "Il y a des hauts et des bas, des beats obsédants et des rythmes folkloriques, les corps prennent toute la musique qu'on leur donne en pâture, ils n'ont plus que cette énergie de secours, le plaisir cru comme bouée de survie, il n'y a plus ni enfer ni paradis ni évasion possible. TOYS est un spectacle d'une intensité de tous les instants, avec des danseurs-acteurs qui s'investissent de toute leur âme dans un trip vertigineux et brutal, sur une bande-son hallucinée."
Paulo Lobo, Paperblog - FR
full article here °
ENG°"Hectic and young, silly and self-forgetful, it is less graceful and poetic than it is wild and frenetic"
Sophie Schülke Letzebuerger Journal - LU
full article here °
ENG°"with a cast as outrageously physical as Joss Carter, James Finnemore, Elsa Petit, Georges Maikel Pires Monteiro and Rosie Terry Toogood, the balance is predestined to excess. Tirabasso nevertheless reins it all in with a simple expedient in the form of a prologue and an epilogue that remind us of the moral implications of the work."
Nicholas Minns, Writing about dance - UK
full article here°
ENG°"TOYS is absorbing and exhausting to watch. The ensemble work flat out. It’s compulsive viewing; Tirabasso deftly fashions a window onto humanity, a tribe fundamentally ill at ease with itself.
Philippa Newis - UK
full article here°
ENG° "Very anchored in our time. Like the characters of American Director Sofia Coppola. And if the comparison
is so tempting, it is that Léa Tirabasso shows on stage a certain golden youth who can afford the luxury of boredom. Nevertheless here, the varnish flakes quickly and the behaviours quickly turn into trash"
"It is bloodcurdling despite the fiery rhythms of Fever or Mighty real. It's very dark."
FR° "Très ancrés dans notre époque. A la manière des personnages de la réalisatrice américaine Sofia Coppola. Et si la comparaison est si tentante, c'est que Léa Tirabasso met en scène une certaine jeunesse dorée qui peut se payer le luxe de l'ennui. A la différence près qu'ici, le vernis s'écaille vite et les comportements virent vite au trash."
"Ça glace le sang et ce malgré les rythmes entraînants de Fever ou de Mighty real. C'est très noir dedans."
Florence Becanne, Le Jeudi - LU
ENG° "As time goes by, the sexual connotation becomes explicit while the gesture disintegrates. One thinks when seeing the dancers staggering about some bacchanalian ritual where the primitive and rude gaiety tries to hide an existential void."
FR° "Plus le temps passe, plus la connotation sexuelle devient explicite tandis que la gestuelle se délite. On pense en voyant les danseurs tituber à quelque rituel bachique où la gaieté primitive et grossière tente de cacher un vide existentiel."
Marie-Laure Rolland, Wort – LU
ENG° "There are ups and downs, haunting beats and folk rhythms, the bodies take all the music that is given to them in grazing, they only have this energy of rescue, the pleasure believed like buoy of survival, there is neither hell nor heaven nor escape possible. TOYS is a show of an every moment intensity, with dancers-actors investing their whole soul in a dizzying and brutal trip, on a hallucinatory soundtrack."
FR° "Il y a des hauts et des bas, des beats obsédants et des rythmes folkloriques, les corps prennent toute la musique qu'on leur donne en pâture, ils n'ont plus que cette énergie de secours, le plaisir cru comme bouée de survie, il n'y a plus ni enfer ni paradis ni évasion possible. TOYS est un spectacle d'une intensité de tous les instants, avec des danseurs-acteurs qui s'investissent de toute leur âme dans un trip vertigineux et brutal, sur une bande-son hallucinée."
Paulo Lobo, Paperblog - FR
full article here °
ENG°"Hectic and young, silly and self-forgetful, it is less graceful and poetic than it is wild and frenetic"
Sophie Schülke Letzebuerger Journal - LU
full article here °
love me tender, 2015
The most remarkable piece of the evening (…) not only original in its subject, but also inventive in its shape and impeccable in its interpretation.
Marie-Laure Rolland, Luxemburger Wort - LU
Effortlessly charming from start to finish, Léa Tirabasso's work is a delight to behold.
Francesca McLoughlin, The Place Blog - UK
(...) poignant; often very funny; visually and aurally appealing; and entertainingly enriched by the uninhibited sincerity of the two protagonists.
Graham Watts, The Place Blog
Theatre and dance are inextricably linked for Tirabasso. Bodies move with a tragicomic honesty. Speech is free, uninhibited and humorous. The most obvious reference, but nonetheless pertinent to Pina Bausch’s Tanztheater Wuppertal arises naturally.
Léa Scherer, Ici-Londres - UK
The most remarkable piece of the evening (…) not only original in its subject, but also inventive in its shape and impeccable in its interpretation.
Marie-Laure Rolland, Luxemburger Wort - LU
Effortlessly charming from start to finish, Léa Tirabasso's work is a delight to behold.
Francesca McLoughlin, The Place Blog - UK
(...) poignant; often very funny; visually and aurally appealing; and entertainingly enriched by the uninhibited sincerity of the two protagonists.
Graham Watts, The Place Blog
Theatre and dance are inextricably linked for Tirabasso. Bodies move with a tragicomic honesty. Speech is free, uninhibited and humorous. The most obvious reference, but nonetheless pertinent to Pina Bausch’s Tanztheater Wuppertal arises naturally.
Léa Scherer, Ici-Londres - UK
See my friends: Elsa/Rosie in Wonderland, 2014
Léa Tirabasso pushes the audience into hearing screams as well as cheesy punch lines. Rachel, Jennifer, Rosie... her name does not matter. This paradox-woman shouts out the pain of every others.
Léa Scherrer, Ici-Londres - UK
Léa Tirabasso pushes the audience into hearing screams as well as cheesy punch lines. Rachel, Jennifer, Rosie... her name does not matter. This paradox-woman shouts out the pain of every others.
Léa Scherrer, Ici-Londres - UK
Simones, 2013
"a lustfully provocative piece"
Juliane Sattler, HNA - Kassel, DE
"Within minutes, the dancers challenged any audience expectancy that they'd be in for an easy ride.
(...) definitely challenges conformist views of what dance can or cannot include. Switching from moments of art brut theatre to fiercely eloquent dance in Tirabasso's thrilling primordial solo, it's a powerful exploration which goes against stereotypes of womanhood."
Peter Lindley, Morning Star - UK
"Exploring the condition of women's impulses with brazen choreography, Tirabasso takes the dancers from sultry to screaming within moments, at times leaving the audience squirming in their seats."
Alice Robotham, The Place - Resolution! review - UK
"a lustfully provocative piece"
Juliane Sattler, HNA - Kassel, DE
"Within minutes, the dancers challenged any audience expectancy that they'd be in for an easy ride.
(...) definitely challenges conformist views of what dance can or cannot include. Switching from moments of art brut theatre to fiercely eloquent dance in Tirabasso's thrilling primordial solo, it's a powerful exploration which goes against stereotypes of womanhood."
Peter Lindley, Morning Star - UK
"Exploring the condition of women's impulses with brazen choreography, Tirabasso takes the dancers from sultry to screaming within moments, at times leaving the audience squirming in their seats."
Alice Robotham, The Place - Resolution! review - UK
XX / XX - a further study, 2012
"Process of the crash, the abuse and the humiliation is strikingly carried out by the young dancer (...) Léa Tirabasso questions the relationship of women and society in her impressive choreography "XX". The woman, only in underwear slips into a role that is reduced to a mere cliché. High heels, hot pants and transparent sweater. (...) - laboriously the young woman tries to be heard. Process of destruction"
Kirsten Ammermueller - HNA, Kassel - DE
"Process of the crash, the abuse and the humiliation is strikingly carried out by the young dancer (...) Léa Tirabasso questions the relationship of women and society in her impressive choreography "XX". The woman, only in underwear slips into a role that is reduced to a mere cliché. High heels, hot pants and transparent sweater. (...) - laboriously the young woman tries to be heard. Process of destruction"
Kirsten Ammermueller - HNA, Kassel - DE
