"(...)I was moved in a variety of ways. Ingri Fiksdal and Jonas Corell Petersen have created the work State which through its persistent presence penetrates the nervous system visually, kinaesthetically and aurally.
State is a totally immersive experience where the central elements – costume, sound and movement – build and support one another, ably aided by the lighting. The elements are woven together so skilfully that it is almost impossible to differentiate between them in order to describe them.(...)"
"(...)– Du sitter ikke og tenker på teorier rundt kollektiv og affektiv event. Bevegelsene har en brutal eleganse som hekter meg på – og holder meg på, skriver Chris Erichsen om Ingrid Fiksdal og Jonas Corell Petersens nye forestilling.(...)"Read whole review »
"(...)Shadows of Tomorrow, which presents itself as an immersive experience of a psychedelic concert, in which bodies - wrapped in a plethora of clothing that doesn´t allow for any one identification - move and part, sync and drift. Inspired by a psychedelic hip hop album by Madvillian and MF Doom and the cosmic journeys of a Sun Ra piece, the performance toys with the notion of a beat as an embodied energy, and t4eases the abstraction of being together.(...)"Read whole review »
"(...)I Shadows of Tomorrow utvecklar Ingri Fiksdal konceptet av en psykedelisk konsert vilken hon påbörjade med BAND (2013)(...)
(...)När jag såg BAND dansades verket av fyra dansare. Nu är de 24. 24 dansare som upprepar samma rörelse och följer varandra. Detta skapar en helt annan musikalisk kraft än i BAND; mer kollektiv och betydlight djupare, mer fraserat än i uttrycket som kom ur den lilla gruppen. Dansarna syns nu genom i sitt egna rörelsesmönster just för att gruppen är större; Individ kan spegla individ, och grupp kan spegla grupp.(...)
Review of Cosmic Body in Kulturnytt at NRK Radio.Read whole review »
"(...) With a kind of low-tech sci-fi aesthetics the choreographer Ingri Fiksdal creates a solar system at Black Box Theatre's big stage. In a quiet euphoria the audiences are immersed in spinning orbits, writes Anette Therese Pettersen.
Towards the end of Fiksdal´s Cosmic Body it is as if I am standing in a hall, a wardrobe between several dance floors at a club. A heavy bass can be heard, far away, and while the room is spinning and the bodies on the floor do the same, it is as though I too have fallen into this movement. And I will remain there(...)"
” (…) The distinction between performer and audience ceases for real in Fiksdals HOODS, where the audience are dressed up in identical costumes as the performers. As a spectator I feel liberated in the dark, scenic landscape where bodies move side by side. The cultic aspect in the choreography creates fear and interest at the same time, while the music intensifies the ritual and repetative experience. The audience movements becomes an important part of the piece, and HOODS expands the composition term to be about all the bodies presence in the room; not only the performers (…)”Read whole review »
"(...) Ingri Fiksdal and Signe Becker invites to a weird and disturbing, but also entertaining encounter at the intersection of performance, installation and performance.
Hoods are both as theater and dance a good example of how cooperation and equal artistic influence can manifest itself as expression. It is impossible to say when the scenography ends and choreography begins or vice versa, and mya associations goes to Craig and Appia.
Both Fiksdal and Becker are exciting artists to follow, something an increasing international attention testify. In their joint projects they manage to do the environment, including the public, to fellow players(...)"
"(...)Det kan virke litt komisk når fire kvinner kommer inn på scenen, ikledd lag på lag med mildt sagt fargeglade klesplagg. Fra topp til tå er disse kvinnene dekt med alt fra gullfarget jakke til silkeskjerf med blomsterprint. Til og med hodene deres er surret inn i tynne sjal, og man kan bli fristet til å avfeie dem som klossete, kavende figurer uten mål og mening. Så feil kan man ta.
Under den timen forestillingen varte satt jeg helt i ro, uten å lee på en muskel, trollbundet av energiene som bygde seg opp på scenen. BAND rører noe ved deg, og forandrer deg(...)"
"(...)Det tradisjonelle amfiet på Black Box Teaters lille scene er erstattet med en stolrekke som står vendt i en halvsirkel inn mot en av sideveggene. Foran dem er det plassert en rad med puter, og publikum blir slik sittende tett sammen (og for noen nok også temmelig ukomfortabelt) i et intimt scenerom. Inn kommer fire utøvere, som er nærmest mumifisert av draperinger med ulike fargesprakende mønstre. Iført bomberjakker, skjorter, skjørt, bukser/tights, hansker, halstørkle og med tørkle over ansiktet er det lite bar hud å spore. Så dempes lyset, og det er bare så vidt vi kan skjelne de fire figurene i det omsluttende mørket(... )"Read whole review »
"(...)Et mørkt rom. Fire dansere. Ingen musikere, ingen instrumenter, ingen musikk. I dag og i morgen er Ingri Fiksdals (32) kritikerroste forestilling «Band» tilbake på Black Box Teater i Oslo, som en del av Ice Hot-festivalen. Forestillingen utforsker hvorvidt koreografi kan skape en konsertlignende opplevelse hos tilskueren.
«Musikken» skapes av dansernes bevegelser, sammen med lyset – eller rettere sagt mørket. Første del av forestillingen er uvanlig mørk; i be- gynnelsen kan man bare så vidt skimte de dan- sende skikkelsene. På denne måten ønsker Fiksdal å skjerpe sansene hos publikum. Målet er at de skal oppslukes(...)"
“(...)If Fake Moon was In Between Time at its most open and accessible, Night Tripper – by the Norwegian trio Fiksdal/Langgård/Becker – exemplified its feeling of intimate community. Not that Night Tripper seemed intimate: it took place in the woodland outside Bristol, within a monumental circle of trees. Two women, arms painted white and long hair covering their faces, stood at the centre of that circle and slowly revolved, while a band played abstract percussive clatters and hurdy-gurdy whines that coalesced around a violin melody. As the moon brightened above, the sense rose that we were taking part in a terrifying pagan ritual. At the height of this tension, the band started singing – and somewhere in the distance, the earth itself seemed to respond. It was an extraordinary piece, simple yet powerfully affecting – much like the festival as a whole(...)”
”(…) Fiksdal, Langgård and Signe Becker developed this unusal scenario with a lot of attention to detail, playing with the situation as if the action was taking place outside the theatre building and even out of the city, to allow the guests to take an active role in the situation which evolved gradually so that everybody could adopt a position on the idea of ghosts, good or bad.
«Night Tripper» offers a good opportunity to let your thoughts roam in a way in which, in your everday life, you might not normally be able to do, and to the carefully crafted enchanting place in the show is truly inspiring(...)"
“Night Tripper is the most convincing collaboration between dancers, musicians, a forest and the sun.
A fade into the depth of the night.
A call for the ghosts of the woods.
A trip to the edge of perception.
A journey into the dark sides of your soul.
No drugs required.”
“Night Tripper is quite, and quietly, extraordinary. Singular in its ambition and joyously hypnotic, there’s something mischievously comic and deeply moving about it. It’s also, in simple terms, very beautiful”.
“(…) As the moon appears through the tall pine branches lining the sky, pushed around by a cold summer breeze, I notice two performers standing in the middle of our circle; their arms are painted white, long hair obscuring their faces. As they move like two pendulums in and out of sync, gaining more momentum in their contact with the ground, sounds begin to filter through the site, at times atonal and at others musical, screeching and teasing out the moon light, in perfect antithesis to the durational repetition of the movement routine. It’s an extended moment that guides us through this passage from dusk to night-time, softening our landing in the deep darkness of the forest; a mesmerising accompaniment that makes visible the forest itself, all magic and mystery. (…)”Read whole review »
"(...)About halfway through last night’s TBA Performance Night Tripper, I was convinced I was caught in a spell. The entire atmosphere suggested an intention to engage the audience in the mystery of the natural world. For the lack of a better term, there was the sense that magic was involved.
Climbing back aboard the bus to head back into town, I found myself already disappointed to be returning to an urban environment. We had only been gone for a couple hours, but I’d be lying if I said that I didn’t feel transformed in some way by the experience of seeing Night Tripper(which is likely what Beckwer, Fiksdal and Langgård were getting at when creating this piece/concept)(...)"