Kathleen Delaney
REVIEWS
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ETHEROTOPIE
Kathleen Delaney plays so intelligently with the acoustic element that it becomes a true stage presence, a real movement partner that is perceptible not only to the ear.
I am struck by a suggestion: that girl appears to me as an elegant bird with white feathers and large wings. With difficulty I see the mimicry of her face due to a lighting with only red neon lights that almost completely absorb the light. Despite the near darkness, I can see the movement of the lips simulating a chirping. I see the hands move like a flapping of wings and in the end I am convinced that I am inside a sound cage inhabited by a magical bird that pays homage to its guests with its dance. Just as she presented herself, the performer returns to sit on her perch, next to the door. She gazes straight ahead, elegant and proud as a sphinx.
Gloria De Angeli, POST SCENA, 2014
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COOL MEMORIES.
HOMMAGE A JEAN BAUDRILLARD
Exercice physique et spirituel a la fois. Sobre, retenu, poetique et singulier. L'esprit de Jean etait tout a fait la.
Marine Baudrillard, comment after the performance in Amsterdam 2009
A research on language and on the circularity of life. An example of theater taken care of down to the finest detail.
Valeria Ottolenghi, La Gazzetta di Parma, August 2009
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ARACNE. THE RITE OF TARANTULA
Det er et absolut top to-mands musikdanseteater fra Italien, som på Odin Teatret fredag den 10. januar kl. 20 opfører en mindre koncert for harmonika og to dansestykker med levende musik,video og højst interessante effekter, benævnt elektroakustiske.
Odin Teatret, Holstebro, Denmark, January, 2014
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ROAD RUNNER
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Kathleen Delaney's performance refuses any temptation of sublimity and pushes on irony...contamination between languages but also contamination inside the language of dance itself.
Nicola Signorile, La Gazzetta del Mezzogiorno, November 2002
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