Derrière la Porte

Thierry Devienne, in the Midi Libre of December 12th, 2013

In this new work, esthetically very impressive, and magnificently danced by Loriane Wagner and Lucille Daniel, Kirsten Debrock is again very much inspired. The audio composition by Olivier Soliveret and the lighting created by Laetitia Orsini contribute to the creation of an, at times, brooding, and then again much softer atmosphere. The texts written by Jo Wotek illustrate what the viewer sees: "I’m not supposed to, but in the end I'll give in to the temptation.



Thierry Devienne, in Midi Libre

With Impostures, feels like a fist hit you in the face, [it is] an accomplished piece of work of Kirsten Debrock who pushes it to the limit, remarkably powerful. ... The dancers, Damien Dreux, Deborah Lary, Thomas Regnier and Loriane Wagner are all very convincing and they put much of themselves in their interpretation. Really a work of great strenght.

Jean Pougnet, in Olé)

"Kirsten Debrock develops a ballet of avoidance. Here, dance does not originate from contact but from dodging... This dance is very slow, contained, sometimes torn by moments of violent agitation, where gestures are excruciatingly detailed, ... it plunges in a somewhat hypnotic fascination which makes this avoidance attractive... One could say that there is more beauty in the slowness of unfulfilled desire than in the outburst of bodies, and that this can be unforgettable."



Jean Pougnet, in Olé magazine of January 25th, 2012

In the beginning, there is a body unfolding itself that becomes gigantic. This transformation occurs slowly, densely, and it is extraordinary. This vertical dance exudes an enormous force. … This first movement is followed by a second part in which the danse is performed horizontally. Her eyes closed, [the interpreter], Déborah Lary seeks contact or proximity. There too, the transformations succeed each other, reinforced as they are by very beautiful lighting. ONE is a remarkable choreography by Kirsten Debrock who is well served by an astonishingly self-controlled dancer.

Thierry Devienne in the Midi Libre of Avril 30th, 2012

Kirsten Debrock, who always takes you off balance, is as demanding on her public as she is on herself. ONE is a solo dance [performed by] Déborah Lary who had already left her mark in TWO. 
The movements are at times sensual or even coy, and sometimes they are violent or even savage. The control of the movements is impressive; their fluidity is admirable. All in all, a demanding work. But it is very esthetic, and it never leaves one indifferent, for that is never the case with Kirsten Debrock.

 Laurent Roquette, in L'Indépendant of July 15th, 2015

Nothing more than 45 minutes, but of phenomenal intensity, were enough to suspend the public's breath... We owe this unheard of session of white magic to Kirsten Debrock, the choreographer of "One." .. We owe it also to Deborah Lary, this tiny solitary women in a white circle who gave us goose bumps down to the end of our toe nails.


Thierry Devienne in the Midi Libre of March 23, 2011

[The dance] establishes a picture of sublime beauty, full of emotions, sensuality and poetry. … All in all, an ambitious and appealing work.
Isabelle Bodin (in charge of the Médiathèque of Fontès), March 21, 2011
This show haunts me. The beauty of the first movement of bodies, simultaneously lying down within a square of light, and standing up in utter softness, with a patience we all should have in our encounters.Then there are the synchronized gestures and the increasingly dense occupation of space, bathing in fitting sound and light. What happiness and what a lesson of life this twosome gives us, as they pass by one another without touching by their look, and listen to each other. And then there is the osmosis, the brilliance of love and the symbiosis of movements. A reality that remains all too often beyond our reach. There are images that stay with me, and have left their mark. The performances of the bodies make us realize the capacity we have to always go beyond what is possible and to graze the impossible. To become utterly one, while keeping one’s identity and one’s energy only to better share it. Confrontation and death menace the balance, the return to calmness and serenity appease.

Midi libre of June 12th 2011

An exploration of the couple and oneself. A square of light defines the boundaries of the intimate space within which, very slowly, a couple, totally synchronized move without leaving their place, looking alike to the point of making us forget who is the man and who the woman. Within this cocoon of light, they might have been twins in a womb, a sensation that was emphasized by the universe of sound, a repetitive circle of aquatic sounds that also describe the space of the couple, no clashes, everything flowing peacefully and slowly, allowing one to perceive even the slightest breath, the most minute expression, the movement of the fingers, one feels cradled, yielding to this wave until, when one expects it the least, there is the shock, at first a shock of sound; then the chase from the nest, throwing the couple in bursts of soft and violent passion.
There is a Kirsten Debrock style, an utmost precise construction, a solid base upon which emotions bounce and flicker …



J.M Douillard in Webzine Danse à Montpellier of March 2011

Then there was Kirsten Debrock, lit by Nathalie Sapin. The piece is all about softness and bodily contact. While this fusing or cuddly aspect may be interpreted as an adequate response, it can also be seen as a regressive position. Quite pleasant, probably an indispensable passage, if one wants to think serenely and seriously (which is needed). Yet, even if one might also see it as a symbol, as a representative example of an extremely organized and well thought dance, that pays a visit to the defenders of “dance in all situations” (the arte poverta of the destitute?) (one might also see it as the fact that Kirsten is not “the one you think she is”. One might ask oneself what could be the importance of seeing the show as something that could be undertaken as a personal initiative: like initiating a dance? No hasty conclusion. One the one hand, my remark applies to all interactive shows, where the public is invited on the stage (laughter and joining did show that the public was happy to comply). On the other hand, it is always pleasant to watch a good female dancer!


Bal de vie

Philippe Verrièle, in the magazine Danser of September 2010

With this Bal de vie, Kirsten Debrock, a Belgian choreographer, born in the United States [of America], and a pure product of the Netherlands Dance Theater, offers another aspect of her talent. This is a modest proposition of disarming simplicity that gives a charming feeling. It was conceived as a dance for a small, private public. There is some Bach, that sounds a bit grave, whilst [the dancers] switch places, tease one another, try out situations, sing children songs, and one gets the feeling that in the relationship, there is something between mother and daughter between big and little sister. A play of exchanges between bodies and gestures which leads the two interpreters to a small universe of complicity where in the end they have the sensitivity of inviting the spectators to a sort of a ballroom dance on the tune of Adamo’s Filles du bord de mer. Festival d’Avignon 2010

Created and choreographed by Kirsten Debrock, to be danced for a private public, it makes use of a small space, with graciousness, violence, laughter. It is a cross section of the life of two women in permanent interaction. The music goes without transition from the classical to the musette. Original to the last minute, the spectators become actors in this dance and leave literally with a smile on their lips, with in their head a little song of a popular dance bar. Is is 10 a.m. This was truly an instance of contemporary dance that puts one in the right mood for the rest of the day.


My Absence of...

Midi Libre of June 2010

Kirsten Debrock has the talent of raising questions concerning what it is that governs our lives concretely and even physically, with all the right proportions of humor, lucidity and mystery. ... My Absence of ... played with our five senses : a captivating universe of sound, the projection of slightly alarming images, subtle lighting, culinary enticing odors, contacts between the dancers that vary from the softest to the most powerful. When it was over, the public left, litterally submerged and impressed.

Webzine Danse of Montpellier, May 2010

The remarkable thing with Kirsten is her capacity to construck a piece from material she has in her head. … For her, the piece is there from the beginning, only then comes the furniture that fits the piece. The moral of the story? A genuine choreographer, a genuine company.

Le Temps

Jo Lengagne, in Olé Magazine, May 2008

That is what I call special”. These are the words of a young spectator after seeing de last creation of KD Danse. Special indeed, singular, destabilizing. Aren’t those the forgotten qualities of what makes an artist, qualities that in nowadays are all too often understood in a negative sense? The time of awakening, or of silence, the time of carrying and tolerating the other, only to lose and rediscover oneself alone with one’s ageing body that escapes. … Oliver Diaz’ video installation and visual touches, which spray shadows of people on a white cube covered by gold-colored leaves, adds to the subtlety of this piece that leaves one in a strange state of mind, between anguish or nostalgia and the eagerness to live intensely the present instant.
Jean Marc Douillard, in webzine Danse of Montpellier of September 19th, 2008
A very constructed universe, both very dynamic ("rupture of rythm") and very soft, a dance that is seldom seen our heck of the woods. The Theater of La Cigalière fits the piece in a marvelous way, and vice versa.