CAMPO DE’ FIORI

INFO CREDITS GALLERY REVIEWS

It only happens rarely that a dance debut surprises us with such consideration and maturity as contained in the solo piece Campo de’ Fiori by the choreographer and dancer Mala Kline…[She has] created her own choreographic language, freed from the recognisability of the language of choreographers with whom she has worked, and distinguished for the meaningfulness of both movement details and longer sequences…her presence on the stage is convincing – in addition to the excellent execution of movements, the author also masters singing and scenic speech…and, together with the dramaturg Irena Tomažin, intelligently and with a precise consideration of rhythm and dynamics, connected all the performance elements into a flawless structure. In recent years in the international space, the aesthetically polished Campo de’ Fiori is one of the very few performances which consists of an intelligent assembly of thought, choreography, visual and sound elements, and execution. (M.Kumerdej, Zdrs skoz duhovne puscave, DELO)

Aesthetically perfected Campo de’ Fiori is one of the few performances in the recent years in the international arena, in which thought, choreography, visual and auditory elements and their performance result in an intelligent encounter. This therefore is a daring and mature work that announces a reflective and meaningful artistic poetics. (CAMPO DE’ FIORI, Golden Bird Award jury)

Campo de’ Fiori is an extremely meditative performance, absorbed in the representation of bodily images, whose accurate structure joined by extraordinary set design and perfected sound image reveal the body through landscape and time… Simultaneously, her Renaissance reference patina closes the networking of meaningful pieces and reflections…a brave and mature work…announcing reflective dance poetry… (K.Praznik, Meditativna dovrsenost, Dnevnik)

…an extremely perfected, well-considered concise piece, going in a sharp, clear line, and being excellently and resolutely opened up into the substance behind it, while by itself giving an effect of a meaningful, succinct whole…The images in which one recognises pieces from Bruno’s life reflect, among other, a clearly visible raising of the issue of womanliness, similar to Ariadne’s thread, gradually untangling and showing the way through the labyrinth of meanings…a complex, perfected, and above all precisely considered and excellently executed miniature. (A. Golob)

Campo de’ Fiori is an evidence of maximum through minimalism on stage. (A.Perne, Soocenje, Polet magazine)

It is refreshing that the dancer … in her debut, so bountifully and appropriately works with the sound… that she manages to play multiple roles in a row like a chameleon and that she has together with her troupe of young sound and light designers the capacity … to stage such evocative landscapes. Dreamlike, obscure, Fellinian landscapes of the world old as the Earth itself, landscapes of degeneration and decadence… Short and to the point! (J.K.Kacin, Kratko, a dekadentno Mladina)

Mysterious. Beautiful. Mystic. (A.Kinnear, Campo de’ Fiori uncoy.com)

(L.Stupica, Campo de’ Fiori, Gloss magazine)

Works

CAMPO DE’ FIORI