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Mythic review by Article19/Hannah Buckley 2011
'it was so amazing to see Marie-Gabrielle's use of her body- it was once intricate, fluid whole.... what also struck me was her ability to shift between states.. it was truly amazing to see transformations happening before my eyes.Visually Mythic was stunning, with some beautiful images created through well used props,and a particulalry creative and effective video.. I am not a fan of vides in dance pieces, but this one actually added something, dark and mysterious to the work'.
Brutality of Fact at Laban
reviewed by Katie Fish, Londondance.com November 5th 2007
.. bodies move in pulsating rhythms as if an electrical impulse is driving their action. The soundscape is equally buzzing, the scratchy tones as piercing and immediate as white noise.
The three figures stand indentically with an upheld arm pulling them upright, fixed as if by an invisible nail, before crashing to the ground.
Although short, Brutality of Fact is striking and poignant, forcing the spectator to fully engage with the suffering of three tortured figures. The work has cleverly interwoven echoes of Bacons's theme into Roties distinctive style.
Black Mirror review by Harriet Anscombe 2008
There is something about the dark. The shadows; that murky dusk between utter darkness and light;the familiar and the unknow.It is the shady line between reality and unreal periphery where cruel tricks of the imagination take place. And in Rotie's Black Mirror, the shadows are where the monsters from under the bed appear. Wether they are real or imaginary, we are left to decipher, but all haunt us, from Rotie's vampire Nosferatu and her huntress with antlers, to the woman covered head to toe in a tangled web of her own hair.
Each element of our theatrical experience is cleverly intertwined so that all are inextricably dependent upon one another. The music, the costume, the lighting, the props, all are essential and all are used with beautiful results. Visually potent physical motifs and blood stained sequences, amongst the shadowy confines of the stage reek of something perilous, something truly haunting.
Mutations Review by Keith Watson Metro 2003
Roties goulish Mutations is as close as dance gets to an anatomical adventure - the company carve a strange and ethereal beauty from their movement material. Rotie is now an accomplished exponent of Butoh - the Japanese dance form which trades on the power of stillness - and the intense physical control that the form demands is evident in the muscular intensity of her choreography.
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.
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.
I saw 'Mythic' last night at Rich Mix and it is one of the beautiful pieces I have ever seen. Helena Astbury