[ Sweat and Soot ]
Sweat and Soot show, sweated without any injuries in the narrow concrete cube of the Duša Pockaj Hall, and cut in half and perplexed by an amusing telephone interview with Dr Slavoj Zizek, is one of the rare dance performances that does not repulse laymen with its pretentious concept… Jocose and efficient amplification of costumes by Grega Zemljic and a séance of kung-fu elements expertly synchronised by Boris Benko, the singer of Silence, who created
the noise, deserves all commendations. Witty. Sexy.
Mladina (weekly), Ljubljana, june 2001, Jasa Kramarsic Kacin

An industrial-sized fan whirrs above the stage; the engine of an approaching bomber throbs
in your ears. A quartet of dancers lurk in the shadows downstage, disjointed hands and faces becoming visible moving in and out of a small beam of light. Graceful, balletic moves are juxtaposed with raw, industrial music to comic but also strangely tribal effect. The trance-inducing noise blasts your senses alongside apoplectic seizures that stick in a loop, finally sucking you back into reality with a sharp slap. Elements of comedy are uniquely used with distorted quotes from famous films. At one point microphones are attached to the dancers chests and the sound of their movement, breathing and heartbeat produce a transfixing intimacy and blurring of the barriers. Sweat and Soot blurs your sensory perception and leaves you in a completely different place.
On line review, Aerowaves - The Place Theatre London, February 2002, Rachel Tonkin

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