Kingdom. Scottish Dance Theatre

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Mary Brennan The Herald. 22nd Feb. 2014 Profound, powerful and hugely demanding in terms of precision, control and team spirit, the dancers are unstinting in executing every task.

Kelly Apter The Scotsman. 22nd Feb. 2014 Crecis’ Kingdom, on the other hand, is born from a place of pure empathy. The synchronized choreography, along with the dancers’ skilful construction work, conveyed a touching sense of oneness, which brought us into their world.

Lorna Irvine Arts:Blog. 26th Feb. 2014 Very precise choreography Collective responsibility meets strength: this piece seems to represent the power of humans in battling nature.

Lucy Ribchester DanceTabs. March 3, 2014 A thread connecting the elemental ancient to the here and now the strength and strain of the dancers carries the piece with an energy that shows anger is timeless.


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Katie Fish 27 June 2011 With 36, Spanish choreographer Jorge Crecis has masterminded a live problem solving exercise for the company with unpredictable rules and shifting roles. Exciting to watch and undeniably challenging to perform the dancers literally had the – largely school aged – audience on the edge of their seats. This is Sudoku brought to life but with no margin for error and with a pinball like focus. Described in the programme notes as a dance-sport, the piece strikes a balance between the two – the deftness of the dancer and the winning drive of the athlete. Dodging and shooting have never been so well choreographed. This is a collective of individuals sharing a common experience but making it their own.
Kenneth Tharp EDge: Making The Small Big. May 2011 (…) Jorge Crecis’s closing piece, in that they managed to maintain a sense of expansiveness, speed, and energy which showed no sense of being confined, albeit that they had to dance the piece with four less dancers than usual (…) The climax of the piece involves fast and furious weaving between rows of standing bottles.

Sanjoy Roy The guardian. Exposure review. Linbury theatre London. Friday 24 February 2012 Platforms for emerging artists are often required to jettison coherence in favor of choreographic diversity. The stylistic lurches between pieces can leave you a little seasick, but sometimes you’re rewarded with a surprise (…) And the big surprise [was] Jorge Crecis’s 36, in which 12 performers pass, catch, dodge and slalom around 36 water bottles, in an exhilarating mashup of dance, sport and maths that raises your pulse and confounds your brain Hobson’s Choice; Exposure: Dance –review. Linbury Studio, London frantic, ludic Giannandrea Poesio | The spectator. On the ropes splendid dance-making.


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Example of audience’s feedback: It was very interesting and I really liked the rawness of the skipping section and would not want that to be perfected too much. (Kerry Andrews, Artsdepot) I loved the piece – was exhausted just watching them! (Melanie Morrison, LSC, Production Administrator & Marketing Manager)

[it´s complicated]

– I thoroughly enjoyed the process. Out of all the choreographers we had worked with, the relationship between you and the group seemed really connected and we were all encouraged to do well. We were given valuable feedback and I am really pleased with the end result. Thank you for sharing your thoughts and ideas, it was great to be challenged and I am really pleased with the end result. Thank you!

All Your Gold by Bat for Lashes.

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Comments from Social Networks:
Youtube: I love the way Natasha dances – it’s so raw and instinctual – like she’s singing with her body….

her dancing gives the video the intensity of the music* it’s intense and beautiful

She has control of her music and body. Perfect.

I LOVE THIS VIDEO. Iconic, fierce, vulnerable- the fluid camera work that follows her amazing choreography… I’m swept away… Natasha looks gorgeous. The backdrop is stunning and it perfectly mirrors the lyrics of the song: the turmoil of the sea and past hurt against the steadiness of the cliff sides and the “good man” now… I love it all. One of my favorite videos of hers to date! <333

Trans la Valo. Beijing NINE Dance Theatre.

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Example of Participants’ feedback: The whole production is very surreal. It totally escapes from reality. And this kind of surrealism is very powerful. When a lot of people perform this kind of surrealistic work, they do it in a very floating, vague, fantastical, light way. But this is actually quite the opposite. It’s very heavy. Even though it’s above reality, the rhythm, the atmosphere, is all very heavy. That heaviness, for me, is one of the most meaningful parts of the piece. Your concentration has to be really high, In terms of physical ability, physical reaction,the demands are really high.

Comments from Social Networks: Weibo Barley Dance: @ wuzhi1001 ‘trans la valo’ This is a spiritual intersection of dance, the entire field will be able to feel the dancers dance from the formal efforts to explore artistic expression, the use of props is bright, exquisitely coordinated with the overall mood of dance expression, praising! (6 June 2013, 20:03)

Labyrinth of Hawara. Mapdance.

Example of Dancers’ feedback: In terms of Jorge’s own and shared inspirations and ideas the piece was very well resourced. Feel really privileged that we were able to have our own composers. It made us feel like the piece was truly ours

Comments from Social Networks: Facebook: Congratulationnnnnnnnnssssssssssssssssssssss. Amazing show. Chi till I dieeeee x. (Joe Garbett, member of the audience. 18-June-2013)

Twitter: The Point @PointEastleigh13 Jun Hypnotic choreography, fluidity of movement & engaging performances – powerful evening of dance from mapdance #mapdancetour Folkestone QH @Quarterhouse_UK23 Jan 19th April

Mapdance a stunning, intricate contemporary dance performance. See pic for details: @Quarterhouse_UK

ADS. All The Names

Example of Dancers’ feedback: – I enjoyed the whole process and I gained a lot. I really appreciated working with such inspiring people. – The music was very inspiring and added an extra layer to the performance. It helped me as a dancer to accentuate the movement and created a different feeling. I believe that we needed more rehearsal time with the musicians to both feel more confident during the performance – I really enjoyed performingaLLtHEnAMESand felt it took on such a new life in the theatre so it was defiantly worth it. Please let us know of any opportunities in the future, I’d really love to work with you again!

Dr Mary Evelyn Head of Postgraduate Studies London Contemporary Dance School The Place, 17 Dukes Road, London WC1H 9PY Direct Line: 0207 121 1123 It was a great pleasure to welcome Jorge Crecis back to the postgraduate department at LCDS. His work engaged the students on all levels, encouraging physical and intellectual development through morning classes and an extended period of rehearsal during which a newly devised work came into being. Jorge was able to nurture a creative involvement from each individual, through a process, which was very challenging on many levels and thus not always easy. Discussions about the process, both during and after the rehearsals, helped them to reflect deeply on their practice and to see the work they had made together in a broader context, which was thoroughly appropriate for postgraduate level study. The end result performed initially a studio setting and then later in the Robin Howard Dance Theatre, presented us with a complex and intriguing series of relationships through the use of voice as well as physical explorations. The group sense of community was strong but individuals also came to the fore at different moments in the work, and overall a sense of commitment or ‘belonging’ to the community was balanced with and sometimes shattered by individual ‘stories’. Working with live music was a very welcome aspect of this process; while the students at LCDS are used to working with musicians in morning classes, it is relatively rare to collaborate in this way in the moment of performance and this took their understanding to a new level. Altogether it was a richly rewarding project for all concerned.

Jorge Crecis © 2017