“Whether it’s dance, theatre, or a completely new genre – in the end it doesn’t matter because it was a both amusing and simultaneously deeply serious evening. Here, an outstanding actress shows what she can do. For an hour, she is a dancer – with body and soul.”

“It should be clear to anyone who has seen Bel’s work that it is not the ordinary production. Perfection and beautiful appearances – all that Bel doesn’t demand from his artists. Rather, a large portion of courage for imperfection and for the revelation of both ability and failure to the audience. The French choreographer is somewhat of a thought leader in his field. He rethinks what moves society in a way that is suitable for the stage and, in doing so, questions what socio-politically relevant issues could mean for performance practice.”

“Bel manages to underline the stereotypes we are subject to when thinking about dance, and the importance of interpretation beyond virtuosity and technical preparation. One of the qualities of the French choreographer is not to create complex choreographies, aimed at feeding or satisfying the personal ego but rather to expose the human identities of the performers, questioning the meaning of representation, dance, or interpretation, favoring a more political than spectacular of doing theater.

“Jolente is breathtaking in her mastery of the set. She cannot dance, her pirouettes are wobbly and her écart is not very grand. But that is not the point. She devours the space and takes us through choreographic sketches. From Dido and Aeneas to Saturday Night Fever, Jolente De Keersmaeker has taken us on a journey through her increasingly personal pantheon. Grand.”

“Jolente de Keersmaeker is not a dancer, she is an actress. (…) ‘Dance sfor an actress (Jolente van Keersmaeker)’ is a wonderful gift both for spectators who know her and for those who have never seen her perform before.”

“What remains is an hour-long feast in which Jolente De Keersmaeker demonstrates with her body, her oh-so-subversive talent : accepting the challenges in order to twist them, chipping away at dance in order to preserve its theatricality. The dance that here, in the end, is only a release, a joyful outlet, which has no subject other than itself, but is only pure feeling, stripped of all words.”