2020 Norton portofoilio

 2008 - 2022
 Press about Angela Lamprianidou
 Greek press:
 generelly press about my workshops:
 Tanz hin Tanz her
 Jamal Tuschick from derFreitag:
 "The audience melds with the ensemble, in which professional 
  dancers and fugitives have already merged. I can not distinguish 
  the one from the others and soon the audience no longer from the ensemble. 
  In imitation of a preliminary program all are moving according to the rules 
  which Angela Lamprianidou explains. 
  The Maker of # 187 Dance, Dance - Call for Movement 
  illuminates the structures of integration: 
  what does it mean to integrate - into a society or a situation? 
  By staging the massive spontaneous connection. 
  People who have the choice in this direction behave 
  as if there is no alternative to their participation."

 about appointment (PDF)
 Appointment, www.kink.cz/angela-lamprianidou/


 Paul Rose: 
 Once again Angela Lamprianidou, the greek-catalan-german artist surprise  
  us with her new performance Alihop. She mixes up political tendencies,  
  sociology of the genders and postmodern flows of the performance-art. 
  While the times are characterized by surprising revolutions,  
  failed wars and ideoligical confusions,  
  the dancetheater of Angela Lamprianidou offers a space of  
  conceptualistic reflection to the public,  
  which invites, to get to know the inner forces which sticks all together 
  Alihop offers an original exploration of our centuries-old passage 
  through movement - walking, riding, driving or flying.


 Reviews from performance in Prague 14.2.2012:
 "SITz, a dance piece created by the Greek choreographer  
  Angela Lamprianidou places high above the average.   
  Featuring Lamprianidou herself together with Julia Koch  
  and Jana Vrána, SITz was recently presented at Ponec theatre.   
  It is an exceptional project made of physical action and dance:  
  a result of many years of exhausting research on motion.  
  In SITz human motion is transposed into sitting:  
  everything takes place in the sitting or squatting position,  
  on the floor or close to it.  
  Three beautiful women in black and green sports outfits sit on the white dance floor.  
  In the chamber light design of geometric shapes they perform countless sitting poses,  
  some of them dance like, some of them less so. (...)  
  It is not an empty phrase to call SITz a successful deconstruction  
  of the conventions of movement and the conception of contemporary dance. (...)  
  The dance in SITz is fragile and luring but also harsh, painful and, at some moments,  
  deliberately disharmonious. The intermittence of pleasing and awkward movements stresses out  
  the irony and exaggeration contained in the gestures. (...)  

  At Ponec theatre SITz proved that there still are things to be scrutinized about the human body.  

  Veronika Stefanova, radio Wave 
  Anyway, just sitting and watching will do with SITz.  
  The show is one to capture your attention in a surprising way.  
  It unwinds in a natural rhythm, without unnecessary philosophizing.  
  Besides, the choreographer has managed to combine  
  her scrutinizing work with the body with the right distance, slapstick elements and vaudeville like humour.  
  The movements are accompanied by respective sounds – squeaking and creaking with the mechanical ones,  
  the slapping of the buttocks falling to the floor. The dancers become uncoordinated bouncy balls.      
  Moreover, the choreography is very coherent visually: the black-green-white style easily engraves in one's mind.  
  The white dance floor makes the green shorts and black stockings even more striking.  
  The final scream of the dancer leaving the stage in a squatting position  
  (no surprise!) is not meant to be desperate.  
  It is pushed to the absurd, to the level of humour and game.  
  The same applies to the choreography as a whole:  
  it is due to this very feature that SITz is a piece worth watching.   

  Markéta Faustová, Dance Zone, 23. 2. 2012 
 Interwiev on chez TV 
 LeCool Magazine: 
 Stop for a moment to think what would happen if you were out having dinner 
  when you suddenly leant over, grabbed your knife and fork like screwdrivers 
  and stuffed them into your mouth as you twisted your neck through 90 degrees. 
  You'd almost certainly be marched away in a straightjacket, 
  but this is exactly the kind of madness we always beg for on stage. 
  Choreographer Angela Lamprianidou has clearly thought long and hard 
  about conventions and the ways in which the body can tear them down. 
  Pure dance still has a lot of life left in it and pieces like Sitz are living proof. 
  Its experimental solo and group moves eschew the grotesque (which also has a place, 
  but not here) in favour of intelligent humour (and spectators' knowing smiles). 

 Francisco Estrada from LeCool: 
 Interesantísimo si en una importante cena se te ocurriera encorvarte, 
  agarrar los cubiertos como si fueran destornilladores y llevarte los trozos 
  a la boca mientras tuerces el cuello 90 grados. De seguro que saldrías con una 
  camisa de fuerza de tu cita, pero, sobre los escenarios, son esta clase de “locuras” 
  las que siempre pedimos. Para ello, el coreógrafo ha tenido que pensar mucho sobre 
  las convenciones y las posibilidades que el cuerpo le ofrece para destruirlas. 
  Y, con ello, diseñar en el espacio y el tiempo. 
  La danza pura tiene para rato y trabajos como Sitz, de Angela Lamprianidou, 
  nos lo demuestran con movimientos individuales y colectivos con espíritu experimental, 
  aunque evitando lo grotesco (que también mola, pero no es el caso) 
  y priorizando el humor (pero el inteligente; el de las veladas sonrisas cómplices). 
 Sara Blaylock from thehiddenpeople.com: 
 I saw an exciting and inventive dance entitled 'SITz' on Thursday, April 29. 
  This work, which fuzzed the line between performance art and contemporary dance, 
  featured three dancers,enacting the learning of movement. 
  Angela Lamprianidou's choreography channeled a proto-human,or perhaps 
  post-human,world,where upright movement was an unlearned or forgotten skill. 
  They stumbled to stand,combined their bodies to caterpillar walk, 
  and at times moved like high functioning robots. 
  Though abstract and unconventional,the movements were,for the most part,articulate and 
  skillfully executed by SITz's dancers Julia Koch,Mireia de Querol and Lamprianidou. 
  The dance was reinforced by a textured soundscape,composed by 
  P.Rose and C.Galle of Institut Fátima,which moved from a subtle static 
  to literally banging beats to an over-the-top loud waltz.
 Emma Haro: 
 Domingo lluvioso en esta atípica primavera barcelonesa. En el Mercat de les flors se 
  estrena SITz el último espectáculo de la coreógrafa y bailarina griega Angela Lamprianidou...

 Teatre ovidi montllor en barcelona/Institut del theatre
 Aleix Vidaldi: 
 Three different languages,finnish,greek,czech.Choreographies which 
  were representing the rhythm of this very personal tongues. 
  An interactive piece with the audience what was full of humor,irony 
  and just the dance language unit those three excellent dancers,who were 
  feeling like if they would be talking,dancing,playing at home,on stage.

 Back To Emotions (es)

  Quim Pujol, en su faceta de crítico con peluca acaba de decir sobre 
  el trabajo de Angela Lamprianidou, otra performer casera, 
  que se trata de una de las experiencias escénicas más especiales 
  que he vivido en los últimos años. 
  iViva el performer en zapatillas! 
 time out magazin barcelona 27.2-3.3.09  
 Interview on radio contrabanda
  with Antonio Narváez


 Pfalzbaum Theater Ludwigshafen 
 Ellen Kokoras:
 Rarely have I seen anybody with a new and particular body language.The fusion
  of movement and facial expression was astounding.Everybody should go see this!

 El cuerpo del otro  

 Iris Schabert: 
 An excellent composition which was intelligently based on the mixture 
  of medical explanation with emotional landscapes.While a voice from
  the off commented on reactions of the bodies on stage,the audience were
  alternating between sympathetic involvement and rational distance, which
  enabled them to experience their own bodies at the same time. 
 Roger Bernat: 
 Sehr sehr gut

 Short cuts  

 Bremen Schwankhalle 
 Carlos Murias: 
 A perplex performance before its perplexities 


 Barcelona (Nau Ibanov,Teatre Estudi,Gava American Lake,CvBarceloneta,La caldera.) 
 Bremen Outnow Festival
 Antonio P.Collom: 
 As the word,so the show.Two dancers in strong positions. One weak,one strong. Changing
  of emotions in a very abstract way.A game with light and shadow over hypocrisy 
 Agusti Ros: 
 I left this performance and I was happy to have lived,shared moments of communication 


 Roberto F.Serafide: 
 Loop,by A.Lamprianidou,is a half ironic and half ritual choreographic
  cameo about symbolic meaning (but also the symbol's impoverishment)
  in circle-based dance.The author achieves this result by composing
  a 'solo on spot',where outbalanced 'release' figures alternate with
  a self-conscious useof what we'll call an 'hysterical slapstick'. 
  And all that on a mesmeric,deliberately non-musical score,which
  according to the title,suggests the repetitiveness of all emotional, 
  kinetic, conceptual 'event' deferring to the rhetoric of birth, 
  dissolution,rebirth.In order to express her ambivalence towards that
  concept (a mixture of religious wisdom and satyrical skepticism) 
  Lamprianidou 'selects' as the dance's totem,a butterfly shaped 
  buckle,situated at the very crossroad of postmodern camp and 
  mythical reference,ideally persisting on stage when already 
  the dance and its interpreter have left. 


 Erlangen Arena Festival 

 Arena Spots:
 A per4mance where u were breathing deep 
  and lovely from the beginning to the end 

 Art Sit 

 Erlangen Arena Festival
 Erlanger Nachrichten:
 Even the toilets have been designed by A.Lamprianidou, a
  fantasy world with a fantastic result.Angela says that we have 
  the best feelings on the toilet,which is why she chose to design 
  this artistic surrounding and give it more art-s(h)it.