Carlos’s advice:
Konstantin Murariev
I had already seen this act and I fell in love imediately. Everything is there: the character, the action, the staging, the humor, the surprise, etc. I am a great fan!
Alexander & Anna
An aerial pole act, it’s something we do not see often!
The symbiosis between the two artists is perfect. There is strength, speed, danger and their bodies unite perfectly. The choice of music also seems good, thanks to the breaks and rhythms of the song. Nothing to say about this act!
The symbiosis between the two artists is perfect. There is strength, speed, danger and their bodies unite perfectly. The choice of music also seems good, thanks to the breaks and rhythms of the song. Nothing to say about this act!
Alina Ruppel
The flexibility of Alina (Eliza) is fascinating, extraordinary! She has a beautiful physique. The act is very well built with constant technical difficulties and a remarkable and difficult final (all its weight on his cervical vertebrae !!!), but paradoxically I feel a lack of confidence in her steps and a body that does not connect with the rhythm. As if the technique erased the feeling of the artist. It’s a shame because I think she has all the qualities required to have a great act.
Ivan Radev
I have trouble evaluating this kind of act. The music get on my nerves, even if technically it’s perfect, I must admit that I’m bored. I imagine there are spectators who like, but that’s not really my case. Although I am aware of the professionalism of the artist.
Aleksandra Kiedrowicz
Here is a act where we can see the mental flexibility of the artist. Yes, I’m talking about her creativity that is as flexible as her body. What a great idea. However, in this act, I miss something. I admire her beauty, her flexibility, but even if technically it’s perfect, I’m not convince by the act. Moreover, I think that the interpretation of the song of Serge Lama by Lara Fabian doesn’t suit. (although I must admit that at the beginning, I found that the idea of the bubble – the microbe – was perfect for a song called “Je suis malade”… traduction: I’m sick).
Helena Polach
I had the pleasure of seeing her during one of my presence to the “Plus Grand Cabaret du Monde”. Despite her beauty and charm, she has a natural sympathy that makes us love her as soon as she enters on stage. Her technique is perfect and above all she has an extraordinary contact with the audience. She has tremendous ability to play with the audience and get people to react to good times. Small downside: the music strikes me a little on the nerves, but I imagine that outside the circus, she must have a music more adequate.
Magic Shezan
I like when acts have a story to tell us. Too often it’s just a technical demonstration and it’s a shame. Here, we find a character, an intrigue, an evolution in the history. We pass from the illusion, to the contact juggling and to the balance of a spinning top. In short, here is a different act that can appeal to all audiences.
Ekaterina Demina
A pefect control of the body (the work of slow motion is great), an impressive technical rigor and you care about aesthetic, in addition this is a suggestive act (usually acts of contortionists always hurt me).
A small suggestion, I imagine a cut on your costume (like cut skirt) to accentuate your long legs.
A small suggestion, I imagine a cut on your costume (like cut skirt) to accentuate your long legs.
Po-Han Huang
My master Arturo de Ascanio always said: “to successfully bring out the magical atmosphere, the audience must have no idea how the effects are made. If the audience has an idea and even if it is very far from the real solution, there is no magic.” Here the technique and ideas are excellent, but at times we “feel” something. I think the act has yet to evolve and become more mature. And it is absolutely necessary to create some breaks because this one seems to me too monotonous.
Gena Tsietkov
What a beautiful introduction! Everything is there: the presence, the atmosphere, the musical atmosphere. Then, you invite us to discover your world. This is different from the majority of speed painters. You manage to connect with the audience (which is cruelly lacking in this kind of acts). You make me think of “The Little Prince” (Antoine de Saint-Exupery). Then when the act becomes more dramatic, I think you should change your way of moving because you move too much as in the beginning. I would like to see another way to move. At the beginning of the act we saw the light, then we would have to see the sadness. I’m not sure that all dance choreography is necessary. I would cut some parts and I would also ensure that the act gains in rhythm by cutting at least 1 minute or 2 if possible (7’15 would be good or better still 6’15).
