|
"Rising choreographer"
Chris Wiegand, The Guardian |
"Uber talented"
Graham Watts |
The fundamental aspect of Léa Tirabasso's work looks at the human overall, often represented as a whole, through more or less monstrous shapes. (..) From there, her provocative gaze dictates, one piece after the next, a kind of great philosophical treatise about those who haunt the current world.
Valentin Maniglia, Le Quotidien (LU)
"Definitely challenges conformist views of what dance can or cannot include"
Peter Lindley, Morning Star
Valentin Maniglia, Le Quotidien (LU)
"Definitely challenges conformist views of what dance can or cannot include"
Peter Lindley, Morning Star
Starving Dingoes, 2021
ENGLISH
(français plus bas)
Starving Dingoes, is vividly carved from the marble of our most primal fears. And if the audience stayed quiet in front of Tirabasso’s tenebrous vision, it is because it was clearly impossible to remain indifferent to the obscure forces flowing from the piece. (…) It is a piece that is frank, new, hyper-dark and impactful. It is a testimony rendered through dance, not looking for the beauty or the ugly, but simply looking for the right. (…)
Starving Dingoes is a beautiful show of knowable and yet bizarre choreography: new, real, and passionate. (…)
Godefroy Gordet, LAND (LU)
FULL ARTICLE HERE (FR)
Survival exercice, sink or swim, this piece shakes the collective body’s piggy bank in a transe of madness.
FB of Rosita Boisseau journalist for Le Monde (FR)
UFO in the landscape of dance (...) Unexplored depths of our brain, like a return to the origins of life... The piece is disconcerting and astonishing. Unclassifiable
Patrick Denis, La Provence (FR)
FULL ARTICLE HERE (FR)
Tirabasso’s full-impact choreography is brutally demanding.
There is a feral ferociousness to the dancers’ interactions that can be explicitly violent or sexual.
You have to admire choreographer Léa Tirabasso’s determination to bring her singular high-concept vision to the stage.
Siobhan Murphy, The Stage (UK)
Starving Dingoes is very much a “show, don’t tell” situation,
eccentrically illustrating the microscopic dramas of life and death
Sometimes you see shows (…) you have to admire, for their singularity, their bullish lack of compromise and the commitment of the performers.
Léa Tirabasso’s Starving Dingoes is one such show.
Lyndsey Winship, The Guardian (UK)
Bodies are adrenalised with involuntary jerks and twitches, posture distorted, and fingers spiked as if electrocuted. They communicate through messy, primal impulse, a pre-language.
No choice, no joy, just a harrowing relentlessness.
Finally, the exhausted dancers settle in this Martian desert, like the remnants of society choking on its own chaotic creations, in which humans, more than ever, are interdependent.
Surfacing from animalistic hysterics to take their bow, the five performers are unrecognisable.
Georgia Howlett, Springback Magazine
FULL ARTICLE HERE (EN)
Strange, Eccentric and furious.
Starving Dingoes encapsulates the unbridled ferocity in humanity’s urgency for survival in the face of the brutal offerings of life.
Kelly Hood, Era Journal (UK)
FULL ARTICLE HERE (EN)
It is the humbling humour of Starving Dingoes that makes its unexpected vision of life and death all the more accessible. Tirabasso and her team have done something more than create a show (…) with such conceptual vigour and emotional urgency. It could even become, if it hasn’t already, an allegory of our time.
Nicholas Minns, Writing about dance (UK)
FULL ARTICLE HERE (EN)
It is both joyful and tragic and inspires us to question the innate desire we all have to belong.
Janine Henderson, Behind the arras (UK)
FULL ARTICLE HERE (EN)
The movement vocabulary becomes even more agitated, quirky, yet remains oddly beautiful, certainly compelling. Bodies twitch and jerk. They shuffle and edge around each other. There are strong hints of uncertainty.
David Mead, Seeing Dance (UK)
FULL ARTICLE HERE (EN)
Nature itself is at the image of the choreography: in its appearance disorganized but in its depths, pertinently crafted.
Peter Avondo, Snobinart (FR)
FULL ARTICLE HERE (FR)
FRANÇAIS
Starving Dingoes, taillé dans le marbre brut de nos peurs les plus primaires, a su vivement toucher. Et si la salle sera restée bien sage devant la vision ténébreuse de Tirabasso, c’est justement parce qu’elle n’a pas été indifférente aux forces obscures qu’elle y fait jaillir. (…)
Starving Dingoes est une pièce franche, neuve, hyper-sombre certes, mais percutante de fait. Et puis il est bon parfois de nous rappeler notre vulnérabilité, surtout aujourd’hui, dans un monde où les fous restent des fous, les bien-pensants restent des bien-pensants (…)
Ainsi Tirabasso (…) livre un constat, mis en mouvement et en corps de façon brutale, non loin de gifler ses spectateurs, qui heureux ou malheureux là devant n’en ressortent pas indemnes (..). Car c’est de nous don’ s’il s’agit ici, notre folie mortelle et notre boulimie de vie.
Starving Dingoes est un spectacle magnifique de palpable et pourtant si étrange chorégraphiquement au plateau : du neuf, du vrai, du passionnant.
Godefroy Gordet, LAND - LU
ARTICLE COMPLET ICI (FR)
Étrange, Excentrique et furieux.
Kelly Hood, Era Journal (UK)
ARTICLE COMPLET ICI (EN)
C’est l’humble humour de Starving Dingoes qui rend sa vision inattendue de la vie et de la mort, une vision des plus accessibles. Léa Tirabasso et son équipe ont fait plus que (…) créer une pièce d’une rigueur conceptuelle et d’une urgence émotionnelle. Cette pièce pourrait devenir, si elle ne l’est pas déjà, une allégorie de notre temps.
Nicholas Minns, Writing about dance (UK)
FULL ARTICLE HERE (EN)
C’est à la fois joyeux et tragique, et nous inspire à questionner le désir inhérent que nous avons tous d’appartenance.
Janine Henderson, Behind the arras (UK)
ARTICLE COMPLET ICI (EN)
La nature elle-même est à l’image de la chorégraphie : en apparence désorganisée et dans le fond pertinemment mise en œuvre.
Peter Avondo, Snobinart (FR)
ARTICLE COMPLET ICI (FR)
OVNI dans le paysage de la danse. (...) La musique vous entraine avec elle dans les profondeurs inexplorées de votre cerveau tel un retour aux origines de la vie… Cette création est déroutante et surprenante.
Patrick Denis, La Provence (FR)
ARTICLE COMPLET ICI (FR)
ENGLISH
(français plus bas)
Starving Dingoes, is vividly carved from the marble of our most primal fears. And if the audience stayed quiet in front of Tirabasso’s tenebrous vision, it is because it was clearly impossible to remain indifferent to the obscure forces flowing from the piece. (…) It is a piece that is frank, new, hyper-dark and impactful. It is a testimony rendered through dance, not looking for the beauty or the ugly, but simply looking for the right. (…)
Starving Dingoes is a beautiful show of knowable and yet bizarre choreography: new, real, and passionate. (…)
Godefroy Gordet, LAND (LU)
FULL ARTICLE HERE (FR)
Survival exercice, sink or swim, this piece shakes the collective body’s piggy bank in a transe of madness.
FB of Rosita Boisseau journalist for Le Monde (FR)
UFO in the landscape of dance (...) Unexplored depths of our brain, like a return to the origins of life... The piece is disconcerting and astonishing. Unclassifiable
Patrick Denis, La Provence (FR)
FULL ARTICLE HERE (FR)
Tirabasso’s full-impact choreography is brutally demanding.
There is a feral ferociousness to the dancers’ interactions that can be explicitly violent or sexual.
You have to admire choreographer Léa Tirabasso’s determination to bring her singular high-concept vision to the stage.
Siobhan Murphy, The Stage (UK)
Starving Dingoes is very much a “show, don’t tell” situation,
eccentrically illustrating the microscopic dramas of life and death
Sometimes you see shows (…) you have to admire, for their singularity, their bullish lack of compromise and the commitment of the performers.
Léa Tirabasso’s Starving Dingoes is one such show.
Lyndsey Winship, The Guardian (UK)
Bodies are adrenalised with involuntary jerks and twitches, posture distorted, and fingers spiked as if electrocuted. They communicate through messy, primal impulse, a pre-language.
No choice, no joy, just a harrowing relentlessness.
Finally, the exhausted dancers settle in this Martian desert, like the remnants of society choking on its own chaotic creations, in which humans, more than ever, are interdependent.
Surfacing from animalistic hysterics to take their bow, the five performers are unrecognisable.
Georgia Howlett, Springback Magazine
FULL ARTICLE HERE (EN)
Strange, Eccentric and furious.
Starving Dingoes encapsulates the unbridled ferocity in humanity’s urgency for survival in the face of the brutal offerings of life.
Kelly Hood, Era Journal (UK)
FULL ARTICLE HERE (EN)
It is the humbling humour of Starving Dingoes that makes its unexpected vision of life and death all the more accessible. Tirabasso and her team have done something more than create a show (…) with such conceptual vigour and emotional urgency. It could even become, if it hasn’t already, an allegory of our time.
Nicholas Minns, Writing about dance (UK)
FULL ARTICLE HERE (EN)
It is both joyful and tragic and inspires us to question the innate desire we all have to belong.
Janine Henderson, Behind the arras (UK)
FULL ARTICLE HERE (EN)
The movement vocabulary becomes even more agitated, quirky, yet remains oddly beautiful, certainly compelling. Bodies twitch and jerk. They shuffle and edge around each other. There are strong hints of uncertainty.
David Mead, Seeing Dance (UK)
FULL ARTICLE HERE (EN)
Nature itself is at the image of the choreography: in its appearance disorganized but in its depths, pertinently crafted.
Peter Avondo, Snobinart (FR)
FULL ARTICLE HERE (FR)
FRANÇAIS
Starving Dingoes, taillé dans le marbre brut de nos peurs les plus primaires, a su vivement toucher. Et si la salle sera restée bien sage devant la vision ténébreuse de Tirabasso, c’est justement parce qu’elle n’a pas été indifférente aux forces obscures qu’elle y fait jaillir. (…)
Starving Dingoes est une pièce franche, neuve, hyper-sombre certes, mais percutante de fait. Et puis il est bon parfois de nous rappeler notre vulnérabilité, surtout aujourd’hui, dans un monde où les fous restent des fous, les bien-pensants restent des bien-pensants (…)
Ainsi Tirabasso (…) livre un constat, mis en mouvement et en corps de façon brutale, non loin de gifler ses spectateurs, qui heureux ou malheureux là devant n’en ressortent pas indemnes (..). Car c’est de nous don’ s’il s’agit ici, notre folie mortelle et notre boulimie de vie.
Starving Dingoes est un spectacle magnifique de palpable et pourtant si étrange chorégraphiquement au plateau : du neuf, du vrai, du passionnant.
Godefroy Gordet, LAND - LU
ARTICLE COMPLET ICI (FR)
Étrange, Excentrique et furieux.
Kelly Hood, Era Journal (UK)
ARTICLE COMPLET ICI (EN)
C’est l’humble humour de Starving Dingoes qui rend sa vision inattendue de la vie et de la mort, une vision des plus accessibles. Léa Tirabasso et son équipe ont fait plus que (…) créer une pièce d’une rigueur conceptuelle et d’une urgence émotionnelle. Cette pièce pourrait devenir, si elle ne l’est pas déjà, une allégorie de notre temps.
Nicholas Minns, Writing about dance (UK)
FULL ARTICLE HERE (EN)
C’est à la fois joyeux et tragique, et nous inspire à questionner le désir inhérent que nous avons tous d’appartenance.
Janine Henderson, Behind the arras (UK)
ARTICLE COMPLET ICI (EN)
La nature elle-même est à l’image de la chorégraphie : en apparence désorganisée et dans le fond pertinemment mise en œuvre.
Peter Avondo, Snobinart (FR)
ARTICLE COMPLET ICI (FR)
OVNI dans le paysage de la danse. (...) La musique vous entraine avec elle dans les profondeurs inexplorées de votre cerveau tel un retour aux origines de la vie… Cette création est déroutante et surprenante.
Patrick Denis, La Provence (FR)
ARTICLE COMPLET ICI (FR)
The Ephemeral life of an octopus, 2019
ENGLISH
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
Expressive and multi-faceted, an emotional roller-coaster
Christine Mandy, Journal - LU
Tirabasso splits individual movement apart to reveal a shaky, vulnerable core of humanity.
Ka Bradley, Springback Magazine - UK
There is an undercurrent of wit in Tirabasso’s choreography, in her choice of music (including an original composition by Martin Durov), in the colour and light of the production and in the relentless play of healthy bodies in a compulsive setting of dis-ease that negotiates a path between spirit and flesh, between intellect and play that taken as a whole borders on an unequivocal celebration of life.
Nicholas Minns, Writing about Dance - UK
On the floor, cables seem to draw the map of a world with intertwined frontiers. Between the animal world and the human one, between science and consciousness, between body and soul.
Ludovic Thomas, Journal Zibeline - FR
FRANÇAIS
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
Expressive et aux multi facettes, un grand-huit émotionnel
Christine Mandy, Journal - LU
Tirabasso révèle le noyau fragile et vulnérable de l’humanité.
Ka Bradley, Springback Magazine - UK
Il y a une intelligence tout au long de la chorégraphie de Léa Tirabasso, dans le choix de sa musique, dans la couleur et la lumière de la pièce et dans le jeu implacable des corps sains dans un environnement compulsif de maladie qui négocient un chemin entre l'esprit et la chair, entre l'intellect et le jeu, et qui, pris dans son ensemble, offrent une célébration sans équivoque de la vie.
Nicholas Minns, Writing about Dance - UK
Sur le sol, un amas de câbles semble dessiner la carte d’un monde aux frontières entremêlées. Entre le monde animal et celui des humains, entre sciences et conscience, entre corps et âme.
Ludovic Thomas, Journal Zibeline - FR
ENGLISH
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
Expressive and multi-faceted, an emotional roller-coaster
Christine Mandy, Journal - LU
Tirabasso splits individual movement apart to reveal a shaky, vulnerable core of humanity.
Ka Bradley, Springback Magazine - UK
There is an undercurrent of wit in Tirabasso’s choreography, in her choice of music (including an original composition by Martin Durov), in the colour and light of the production and in the relentless play of healthy bodies in a compulsive setting of dis-ease that negotiates a path between spirit and flesh, between intellect and play that taken as a whole borders on an unequivocal celebration of life.
Nicholas Minns, Writing about Dance - UK
On the floor, cables seem to draw the map of a world with intertwined frontiers. Between the animal world and the human one, between science and consciousness, between body and soul.
Ludovic Thomas, Journal Zibeline - FR
FRANÇAIS
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
Expressive et aux multi facettes, un grand-huit émotionnel
Christine Mandy, Journal - LU
Tirabasso révèle le noyau fragile et vulnérable de l’humanité.
Ka Bradley, Springback Magazine - UK
Il y a une intelligence tout au long de la chorégraphie de Léa Tirabasso, dans le choix de sa musique, dans la couleur et la lumière de la pièce et dans le jeu implacable des corps sains dans un environnement compulsif de maladie qui négocient un chemin entre l'esprit et la chair, entre l'intellect et le jeu, et qui, pris dans son ensemble, offrent une célébration sans équivoque de la vie.
Nicholas Minns, Writing about Dance - UK
Sur le sol, un amas de câbles semble dessiner la carte d’un monde aux frontières entremêlées. Entre le monde animal et celui des humains, entre sciences et conscience, entre corps et âme.
Ludovic Thomas, Journal Zibeline - FR
TOYS, 2017
ENGLISH
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°
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°
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.
Florence Becanne, Le Jeudi - LU
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.
Marie-Laure Rolland, Wort – LU
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.
Paulo Lobo, RostportLife - Blog – LU
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 °
FRANÇAIS
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, RostportLife - Blog – LU
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
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
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
Photo Credit: Jonathan Couvent
