Marie-Gabrielle Rotie

 

To Download a selection of press cuttings in PDF format click once here. 

 

 

Mutations review by Total Theatre 2003

 

the emotional, mental images that the dancers provoked were haunting: images that one recalls in one's sleep.  

 

 

Flying chair for Da Vinci review by Londondance.com 2002

 

The ghost of Mary Wigman haunts in the shadows  

 

Flying Chair for Da Vinci review Place online reviews 2002

 

An eloquent exploration of momentum, suspension and gravity .. both painful and disturbing to watch but compelling in its madness  

 

 

 Human Zoo Trilogy reviewed in Dance Theatre Journal 2000

 

A truly hypnotic blend of movement, lighting and sound - bodies take on an alien almost eerie quality.

 

 

Refract review by Dance Europe 2002

 

a wonderfully evocative piece of quiet intensity - minimal movement to maximal effect .

 

 

Mutability reviews by Western Mail 2003

 

intense and accomplished  ...

a remarkable display of control and internalised emotion.

 

Mutability reviews by Dance Europe 2004

 

Rotie mutates into various animalistic forms in a solo journey- she cranes her neck, pokes at the space, as if hatching out of an egg, feeling her way through life. In a costume that is like a second skin or some sort of cocoon and with sparse lighting, the piece has a purpose, a focus and simplicity that is very engaging.  

 

 

Brutality of Fact review by Criticaldance.com 2004

 

Marie-Gabriele Rotie choreographed Brutality of Fact. This work was danced intensely with Rotie, Pei-Jen Tsai and Yuan Zhang. Its inspiration was the 1944 Triptych Studies for figures at the base of a crucifixion by Francis Bacon. Its movement aesthetic was tempered by Rotie’s knowledge of Japanese Theatre and Aesthetics. The dancers’ moves, varied shapes in standing, sitting and then moving through space conjured all matter of angst and disgust with reaches of legs, arms and head. All postures had a particular resonance that brought their own sense of horror at the sight of unspeakable torment. From the sparse vocal sounds to the clarity in movement shapes of contortion, balance and flow it was evident that Rotie had a clear vision and the specific compositional tools to render this extraordinary work.

 

 

Darkness Cycle 2 The Place Theatre February 2009

 review by Ballet Magazine.

 

Darkness Cycle 2 was a reworked piece of Marie-Gabrielle Rotie Productions, for 15 performers of varying ages and abilities. To really appreciate this drama-based piece, I decided you needed to be a vamp-fan, which unfortunately I am not. So I sat back and tried to enjoy the clawed hands, possessed looks, evil cackles and smeared blood.

 

For the group of young women in front of me, the performers reaching between the legs and gesturing as though licking their own juices was just too much, and there were gasps, squeals and turning away in disgust. The show was stolen by the talented acting abilities of the little evil one whose giggling, whispering, squeaking interludes provoked irresistible laughter in the audience.

 

Audience responses to Mythic solo 2011

 

Thank you for a beautiful performance - just got home and still hearing, seeing and feeling it. Congratulations to you and Nick and the team.

Daniel Somerville

 

Your show last night was so beautiful .. Emily

 

So lucky I just got there in time to see mythic last night, I thought it was beautiful.  

Hebe Reilly E15

 

Inspiring performance . thankyou for sharing.. Hulya Baytar

 

Your performance was so beautiful Yuliya V Krylova

 

Had a fantastic time last night watching Mythic, well done and thank you  Lydia Kay

 

"Thank you & congratulations for last night Marie. Captivating as always.

 Andrew Macauley

 

I saw 'Mythic' last night at Rich Mix and it is one of the beautiful pieces I have ever seen. Helena Astbury