<img src="http://image.guardian.co.uk/sys-images/Guardian/Documentaries/TextBlocks/1999/08/04/edinburgh1.jpg" alt="" />
<small>The Guardian on the Edinburgh Festival</small>

With a pointe to be made

Emio Greco is determined to take his choreography that one step further.

MARY BRENNAN reports in The Herald

more...

<small>[ 29 March 2003, 04:24 AM: Message edited by: Stuart Sweeney ]</small>

Review in The Guardian<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The irresistible force of Emio Greco <P>Double Points<BR>Playhouse<BR>Rating: **** <P>Alice Bain <BR>Tuesday August 21, 2001 <P>Emio Greco makes you shiver. He does a lot of shivering himself. He's strange. He dances yet doesn't dance at all. He quakes. He levitates. Sometimes he spins like a Catherine wheel, his arms becoming a rocket-red blur. And sometimes he stretches over the floor with purpose, then stops suddenly and stares at the front row with beady black eyes. He's a disconcerting character who inspires a raft of people to clap their hands raw, but leaves others bewildered, blinking in their seats. <HR></BLOCKQUOTE><P><A HREF="http://www.guardian.co.uk/reviews/story/0,3604,540119,00.html" TARGET=_blank> <B> MORE... </B> </A> <P>Also review in The Times - it is shared with a review of Amanda White so you will have to scroll down for it.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Emio Greco’s Double Points: 1 and 2 (at the Playhouse) is a project Greco conceived with his creative partner, Dutch director Pieter C. Scholten — the PC of their company’s name. The first half is a solo in which Greco, a performer of almost Mephistophelian intensity, uses his entire mercurial body to stare down, as it were, a recording of Ravel’s Bolero. He moves in an agitated state of glorious neurosis up and down what could be a runway or, perhaps, some rarely travelled highway <HR></BLOCKQUOTE><P><A HREF="http://www.thetimes.co.uk/article/0,,62-2001290097,00.html" TARGET=_blank> <B> MORE... </B> </A><P><p>[This message has been edited by Joanne (edited August 21, 2001).]

Emio Greco
By Donald Hutera for The Times


WITH its impulsive sweep and twitching inflections, the dancing of the Italian choreographer Emio Greco is both alien yet utterly familiar. His collaborations with the Dutch director Pieter C. Scholten are charged with a peculiar drama rooted in Greco’s flesh and bones. After three seasons at the Edinburgh Festival, the pair made their London debut this week with the hour-long Double Points: One & Two.

The performance starts with Greco’s fidgety, epic solo Double Points: One. Two thin strips running down centre stage define what could be a runway to nowhere. A cluster of glowing lights repeatedly crawls up this space and fades away. One of these crawls reveals Greco, a shaven-headed sprite in an ankle-length grey shift.

click for mre[/click for ore[/b]

Emio Greco
By Judith Mackrell for The Guardian

The insinuating rhythms of Ravel's Bolero act as the signal for an erotic tease in most dance. The score was, after all, composed for Ida Rubenstein, who made her living out of peddling exotic sensuality on the ballet stage. But while Emio Greco's handling of Bolero features some sex and some revelation, they are of the most ravaged and untantalising kind.

With his shaven head and ragged outfit, Greco looks more like a fanatical hermit than a Gypsy temptress. His choreographic mission is not to display his body but flay its defences and reveal its most intimate sensations. The music does not arouse, but acts as a terrorising force that Greco alternately resists and surrenders to.

click for more