Délmagyarország by Anna F. Szalai 07/03/2016
Last night our city finally experienced what Budapest had already celebrated at the Budapest Dance Festival at the Müpa Theatre on 27 February.Baby Boy by Ivgi & Greben is a modern creation that plays with impressions and the viewer’s imagination. It is perplexing and deep but painfully beautiful.
Ivgi & Greben locked their piece in a red comfit-box in wich almost naked-looking dancers lost their names and personalities. It did not matter who tried to climb trough the red walls typifying the borders of our world. All the movements and bending bodies were telling us about the pain caused by wars, embittered anger and the continuous desire for breaking free.
Physicality like subordinating a personality to the message is the idiosyncrasy of this choreographers-duo. Dancers have to move as a community from wich some fall out but melt back in eventually. For scenes like gathering and climbing like ants or lugging their partner as a ragdoll precise movements were created.
At the end of the play a question of why the dancers are staring at us from behind the blue cordon inside the box remains in our mind. Are they waiting for a solution coming from the viewers?
The music composed by Tom Parkinson perfectly suits the choreography as it boosts and highlights the tenseness of the play. Just like other elements of Baby Boy the music could not be defined of it’s own either. Sometimes it is a mish-mash of dissonants sounds reminding us of heartbeats or crackling machine-gun
TPR Northwest in Dance, North West 26/02/2014
The second piece proves to be the highlight of the evening. Document is an uncompromising work of dark beauty, choreographed by European duo Ivgi & Greben, relatively unseen in the UK to date but definitely ones to watch. Document has a strong Israeli vibe – Ivgi is Israeli – and is an intense slab of edgy, modern choreography. Set to a gloriously cacophonous soundtrack of finely modulated, relentless machine noise by Tom Parkinson, Phoenix’s five core dancers twitch, shuffle and flail in and out of synchronicity, thrown together as a group, torn apart as individuals. Document suggests a grim dystopian future world of repetitive drudgery and subjugation as well as strongly evoking the everyday suffering of modern urban warfare. Repetition, obedience, punishment, subjugation, instability and dehumanisation are forensically examined. It’s wonderfully powerful, thought-provoking and exciting.
Yaron Abulafia’s dramatic lighting creates a vivid sense of desperate physical and emotional presence. The dancers, with dark, haunted eyes and beautifully grubby and worn costumes, follow a progressively impactful narrative journey from resigned, wearied emotionlessness through to horror and anguish. Silenced, stateless. The near-ending as Monin, Sanger, Wille and Vince-Pang support a traumatised Jitka Tumova towards front stage is achingly powerful. The remarkable, exhaustedly combative, collaborative duet by Phil Sanger and Josh Wille is a tenderly bleak and emotional coda to a fantastic piece of dance theatre.
A mixed programme indeed………………and Document was darkly mesmerising and satisfyingly difficult. Ivgi & Greben: more please.
FORGOT TO LOVE
Jekaterinburg News 13/11/2012
With their first collaboration in 2009/2010 Ivgi & Greben received the prestigious Golden Mask Award for their full length choreography This Is Not A Love Song. This new and very different creation was just as impressive.
At a certain point you realize that you’re no longer just a spectator, but that you’re part of the performance. It is the power and synergy of choreography, design and music. No doubt the merit of the choreographer duo Ivgi & Greben who developed the theme has so accurately. From beginning to end they let them find their audience to reflect on their own lives. This performance is a mirror in which, without prejudice to anyone, everyone is affected. For me a second Golden Mask.
Tom Parkinson composed an absolutely wonderful collage of sounds, noises, live and electronic instruments. A beautiful palette of echoes of the industrial sounds, noise and tribal techno music with a touch of primitiveness, perfectly correlated with the action on stage.
Het Parool – Bregtje Schudel
An intriguing solo of Ivgi & Greben that both captivates and questions. Magistral!
Volkskrant – Mirjam van der Linden
An extreme example of flexibility. An oppressive, virtuosic solo of Ivgi & Greben. Nobody can deny that this is not exactly a cheerful image of a woman.
NRC Handelsblad – Francine van der Wiel
An incredibly interesting demonstration of mental and physical malleability.
Meppeler Courant – Ton Henzen
Theatrical and passionate simple labels make a careful attempt to tell the story of the choreographer duo Ivgi & Greben. The images get stuck in your head and stay sitting there for a long time.
Dancetalk – Ora Brafman 03/12/2015
Ivgi & Greben are a choreographer duo living in Holland. Here in Israel they presented their solo with dancer Alyona Lezhava. In the first minute it is not clear if the person wrapped in layers of plastic is male or female. The tight binding flattens her breast and creates a camouflage of the body parts. In this moment the words imprisonment, flattening, binding, alienation come to mind. A human cocooned in its own web. The mouth is blocked with black masking tape. How will she shout?
Actually this work is no less about us then about her. As we are confronted with a binded women she looks at us like a bar dancer would look at her public. A victim and a victimiser, but Ivgi & Greben challenge this double look and shift it from the expected way, away from the banal. The different layers bring out the unconscious, which has influence on any person’s look, at the way one will interpret the situation.
In the meantime Alyona grounds herself in a poise of control. She challenges points of view that are taken for granted when she spreads her legs and pushes her vagina towards the face of the public. She lowers herself into a deep plié with a shaking body, strokes herself with a shut-off face. A background of darkness exposes an upper body bare from the layers of plastic foil which remains only around her hips. The visible victory in a conceptual sense not more then another layer of skin. On the contrary they even give it emphasis. The knowledge that the viewers are taking part in her auto erotic game, changing it forcefully into manipulative, a hint of control in a complicated situation, a hint of a cry of help.
It’s a tight choreography in many ways. The unnecessary is removed, all the distractions normally used to try and create beauty. She succeeds in touching the viewer in different emotional places, and above all she leaves a screen of loneliness, and a touch of sadness, for her, and for us.
Theater: Pur – In NRW, Marieluise Jeitschko 18/03/2012
World class of Dance in the state capital of NRW
With Ivgi & Greben Ballett am Rhein invited a choreographer duo of the caliber Lightfoot / Leon. The premiere of Backyard is a fantastic business card for the Dutch duo working together since 2003, but until now had never been seen before in Germany. The surprise of the evening.
THIS IS NOT A LOVE SONG
NRC Handelsblad, Michel Krielaars 23/05/2010
A brilliant collaboration with the Provincial Dances Theatre.The critical Moscow audience was exuberant about the piece, which premiered in December in Yekaterinburg and is now winning the hearts of dance-loving audiences in Moscow.
This is not a love song is about oppression and freedom. When the curtain rose, seven dancers hung folded up in large swings. One by one, they awoke like butterflies emerging from their cocoons. They then tumbled onto the ground, where they crawled together in wild movements to form a column. The association with the oppression of the Russian people under communism was thus firmly established.
The violence of the oppression transformed itself into a heroic struggle for freedom that ended in a victory over evil and the question of what should be done with the newly won freedom. The duets in which this was expressed were moving and intimate. The group on stage then turned its focus to a forlorn individualism that struggled to find its way in a still violent world.
DOCUMENT – Phoenix Dance Theatre, GB
The highlight of the evening. Document, an uncompromising work of dark beauty, is an intense slab of edgy, modern choreography. Five dancers twitch, shuffle and flail in and out of synchronicity, thrown together as a group, torn apart as individuals. Document suggests a grim dystopian future world of repetitive drudgery and subjugation as well as strongly evoking the everyday suffering of modern urban warfare. Repetition, obedience, punishment, subjugation, instability and dehumanisation are forensically examined. It’s wonderfully powerful, thought-provoking and exciting.
Posted by: TPR Northwest in Dance, North West
THIS IS NOT A LOVE SONG – Provincial Dances Theatre, RU
The Goethe Institute, British Council Cultural department of the Dutch Embassy held a competition for European choreographers.The result of this Israli-Dutch-Russian collaboration, the choreography for ‘This is not a love song’, was stunning. This strong work about oppression transformed itself into a heroic struggle for freedom that ended in a victory over evil and the question of what should be done with the newly won freedom. The duets in which this was expressed were moving and intimate. The group on stage then turned its focus to a forlorn individualism that struggled to find its way in a still violent world.The critical Moscow audience was exuberant about the piece, which premiered in December in Yekaterinburg and is now winning the hearts of dance-loving audiences in Moscow.
Michel Krielaars/NRC Handelsblad
Het Parool – An intriguing solo of Ivgi&Greben that both captivates and questions. Magistral!
Volkskrant – An extreme example of flexibility. An oppressive, virtuosic solo of Ivgi&Greben. Nobody can deny that this is not exactly a cheerful image of a woman.
NRC Handelsblad – An incredibly interesting demonstration of mental and physical malleability.
Meppeler Courant – One of the most bizarre dance pieces I ever saw. The images fasten in your head and stay there for a very long period.