“This piece is something pretty extraordinary. It provoked all sorts of odd reactions in us. Sometimes perturbing, sometimes awkward. But also entranced, bewitched and mesmerized. It’s unrelentingly minimal and utterly engrossing as relationships between the performers and with the audience transform moment by moment” – Eddie Nixon and Ellie Beedham – programmers The Place, UK


“For years, Jasmina Križaj has been one of the most progressive choreographic figures on the Maribor dance scene. Together with co-author Cristina Planas Leitão, they create in the performance The Very Delicious Piece some sort of an inter-kinesthetic piece in which the spectators in a static position examine their persistent, harmonious, dynamic and fluctuating dance pulse. The performance is one of those choreographic works that in a thoughtful and clearly structured manner modulate our direct sensorial responses to the choreographic machine and could be – off the cuff – historically compared to sensory studies conducted in visual arts in the 1960s by op art. The rather ironic semantic frame of the performance deals mainly with the contextualization of a direct aesthetic and sensorial experience usually registered by contemporary art as trash aesthetics.” – Text by Rok Vevar in

“Wow, incredibly original, powerful, beautiful, sensual and disturbing! I’d forgotten that dance could do that.” – audience member at The Place

“The five shows in the season are all ‘unique and unusual’, says Nixon, and demonstrate artists working in ways he calls ‘provocative’. In short, they don’t look like anything else you’ll see on stage in this city. So along with the Loose Collective, an Austrian group of dancers and musicians whom Nixon describes as ‘brilliantly barking’, highlights include a Slovenian/Portuguese duo who spend their whole performance shaking and an investigation of time and mortality expressed through the medium of juggling.  (…) Out of the hundreds of works Nixon sees each year, these are the ones most likely to challenge your notions of what you expect to see in a dance theatre. The shaking piece, for example, officially titled ‘The Very Delicious Piece’ by Jasmina Krizaj and Cristina Planas Leitao, sees the pair jolting and rattling their bodies to a soundtrack of well­known songs. ‘These really emotive pop songs that everyone has associations with in terms of time and place,’ explains Nixon. The way you read what the dancers are doing changes depending on the music, and your point of view. ‘It looks like lots of different things, from avant­garde dance to lovemaking,’ says Nixon. And the idea is that it provokes a wave of physical responses in the audience as well.– in Time Out London by  Lindsey Winship “In The Place: the shock of the new” 2.7.2013

“The very delicious piece, in a nutshell, is fifty minutes of Planas Leitão and Krizaj shaking their bodies (they are doing so from before I even enter the auditorium). It references other work I have seen which is also based on a single repeated action but is different because it is irreverent towards the expectations that I hold about how this concept should materialise. (…) For me the best thing about watching this piece is knowing that the performers are also the makers. In fact, the only reason that the bareness of the piece works is because it goes hand in hand with transparency and some implication of honesty on the part of Planas Leitão and Krizaj. The choices they make are as clear as if they had been written on paper: songs play back to back, movement developments are simple and predictable and the light changes draw my attention to the light bulbs more than the lit space. I have the impression that the making of choices has been somehow more important than what those choices actually are. And this is itself a choice. The skeleton of the piece triumphs over the muscle of it. Things are never quite the body I expect them to be: what at first moves and soothes me in the music is eventually replaced by a trashiness that makes me wince; and the pulsing of the bodies never succumbs to the tenderness that I expect.” – by Eleanor Sikorski, Belly Flop Magazine, 2 September 2013, Summer House at The Place, London (UK) – for the full review, click here!


Article by Igor Ružić in Maska “from minimalist research to Utopian zeal” –  Maska October 2014

Maska Magazine, October 2014