Successful mission: a so stringent dance piece has not been seen at Konzert Theater Bern for a long time. Music, choreography, set and costumes are virtuously linked into an organic whole. The dancers move to spherical sounds of Arvo Pärt and Philip Glass, they are apparently detached from the force of gravity and jump into emptiness.
Berner Zeitung, Helen Lagger, 21st October 2013
Its spectacular in those moments where physical laws are nullified and dancers literally fly weightless out of the hans of their partners into a head-over-rotation. Well, and its really spectacular and moving towards the end, when the covers fall. The ensemble is transformed into a group of vulnerable, expressive individuals who exhaust themselves in intense duets and fantastic trios, they unify to organic molecules or build a fan of arms, as an ongoing continuous wave.
Der Bund, Marianne Mühlemann, 21st October 2013
Choreographer Felix Landerer loads competently abstract movemet psychologically and allows many interpretations ... Time and place are convertible blocks in this moving psychodrama that aims from the first light flash on a personal breaking. Felix Landerer provides the ensemble with plenty of room for expressive solos, strong group pictures and understands the art of reduction for the translation of language in movement perfectly.
Der Bund, Marianne Mühlemann 20th January 2014
Landerer doesn’t stage a chatty dance theater, but a highly condensed psychodrama.
Berner Zeitung, Helen Lagger, 20th January 2014
"Estefania Miranda made herself a name in the international dance scene long time ago ... In her latest choreography, she shows in a touching way, internal and external deterioration and dissolution of social and private structures. It's about injury, damaged intimacy, isolation, and the question whether the individuals can reinvent themselves every day."
“... a piece that demonstrates, that a body can represent all human emotions and struggles absolutely excellent and clear. ... a well-structured dramatic arc, even if it is not narrative, but only at the end recognizable as a round thing, is also in the category of dance an absolute plus. Remember this name for the future!"
Linke Züricher Zeitung
"The dancers interact with fascinating expression and fill imaginary spaces with high creativity, passion and constancy. ... there were thirteen images of captivating intensity. The audience thanked with long applause."
"The second part of the dancetheater trilogy Zwischenräume in the choreography of Estefania Miranda is current, socially critic and psychological. ... visually and conceptually very convincing. "
Le Régional Lausanne
"Scenes of solitude: melancholy, rebellion, uncompromising ... a highly differentiated, own choreography. ... the work is impregnated with poetry, from the knowledge of the dramaturgy of the body language.”
"An openning image of overwhelming symbolism. Four black-dressed women move to the monotonous sound of bells, their arms wrapped tightly around the body, their backs turned to the audience. Suddenly they awaken from the lethargy, they run forward and are held by ropes that chain them to the house. The play “Bernarda Albas House” begins with such force. The performers move with almost acrobatic abilities, along the walls ... an excessive body language, as it is rarely seen on stage.”
"The exciting question before the huge approved performance, was how the choreographer achieved her stated objective, the representation of objective reality in the mirror of subjective feelings. She chose with Reinier Schimmel and Miquel de Jong two excellent dancers from opposing charisma. Both embody the stated objective to exhaustion."
"... the prestigious Festspielhaus Hellerau ... musicians and dancers deserve this venue."
Dresdner Neueste Nachrichten
„ ... and again Estefania Miranda creates magical moments ..."
“Estefania Miranda has brought with „Hubert wants to go out“ the danced monologue of a person like you and me, impressively on stage.”
"In a touching pas de deux with Miquel de Jong both dancers flow into each other like two rivulets, the setting of the partner on the ground seems to have been almost completely forgotten between the harmonic lifting figures."
"The intense body language is the result of the sophisticated choreographic work of the choreographer Estefania Miranda with the performers."
"The intensity of feelings ... implores this ensemble with body and soul with poetry and toughness. And it makes use of expressive elements of dancetheater (praises to the choreographer Estefania Miranda!)."
"... a with knowledge densely written stage. "
"Estefania Miranda, who studied dance in Scotland and the Netherlands and worked among others with Ismael Ivo and George Tabori, accesses her treasure of experience as a dancer, choreographer and actress."
"Virtuosity of all participants in the furious start of the second year of the Weimar Dance Festival."
Thüringer Landeszeitung about „The Tempest Replica“
"What the company presents here, is body control at the border to acrobatics ... A strong end: simple, compelling, beautiful. Standing ovations for the dancers."
Thüringer Allgemeine about "Dark Matters"
“With the departure of the exceptional dancer and choreographer Ismael Ivo and his ensemble more than ten years ago, the dance section of the German National Theatre Weimar, passed to history ...
The 1. International Dancefestival Weimar links to the tradition and is curated by the Chilean dancer and choreographer, Estefania Miranda. The former soloist of Ivos ensemble brings seven productions on stage ... "
"The choreography of Pia Meuthen – accompanied by piano and drums – is a genius dance walk on a narrow ridge. The young choreographer proves special equilibrium with the energetic combination of the elements text, light, body.”
Thüringer Allgemeine about "Nude"
"... a pas de deux, with enthusiasm and passion, in which the soloists demonstrate brilliantly their dancing skills. Besides many memorable images for feelings such as love and hate, strife, forgiveness or revenge remain in my memory. "
Thüringer Landeszeitung about "The Tempest Replica"
"The aesthetic with which Crystal Pite tells Shakespeare’s Tempest is terrific.
... the furious applause stands for this. The magic of aesthetics "
Thüringer Allgemeine about "The Tempest Replica"
Perfection of movement, just as it was before the perfection of the imagination.
At the end white dolls applaud their dying master in slow motion. The audience followed enthusiastically."
Thüringer Allgemeine about "The Tempest Replica"
"The audience recompensed the young people for their creativity with plenty of applause."
Thüringer Landeszeitung about the project for young people "Dance with Chance"