Critical Reviews

Aumelas Steps

Aumelas Steps is an attractive work, at times both magnificent and comical. ... Kirsten Debrock deserves heaps of credit, especially on account of the stream of beautiful ideas. Debrock uses a pretty vocabulary.” (De Gelderlander, Arnhem, 31/10/1994)

“The whole thing is quite witty. Contrary musical temperaments make the movements fascinating, angular, very strong, sudden and sometimes hilariously comical.in small but incisive practical jokes. Inventivity is always there.” (Arnhemse Courant, 31/10/94)

“In a supple and capricious language of mouvements that is characterized by tiny fluid steps, sudden turns and fiery jumps, [Kirsten Debrock] sketches the relationship between man and woman, mother and child ... Debrock is not afraid of the pathetic nor of some degree of the theatrical, but humor always keeps Aumelas Steps amusing...” (NRC Handelsblad, Rotterdam, 11/10/1994)

  “There was nothing that would make us suspect what she in fact would present, a surrealistic phantasy with so much dramatic dance pathos. ... Her way of mixing both abstract and narrative dance is certainly original and authentic. ... Cages should be considered as a courageous experiment.” (???, ???, 12/10/1991)

The language of mouvement used by Debrock in Cages is perfectly adapted to her dancers. (Volkskrant, Amsterdam, 14/10/91)


“In its Barok Introdans continues to show itself from its best side... Both choreographers make use of kaleidoscope of styles. from courtly to neo-classical dance and the Argentian tango. The language of the choreographers go well together. Kirsten Debrock succeeds in maintaining the tension.” (NRC Handelsblad, Rotterdam, 11/3/1997)


“Nothing had led us to expect that [Kirsten Debrock] would offer us this surrealistic fantasy with so much dramatic pathos of dance. ... Her own way of mixing both abstract and narrative dance is certainly particularly original and authentic... Cages must be regarded as a courageous experiment.” (Trouw, Amsterdam, 12/10/1991)

“The language of movement used by Debrock in Cages is perfectly adapted to its dancers... A nice beginning for a choreographer's career.” (Volkskrant, Amsterdam, 14/10/91)

“[Kirsten Debrock] is original in her way of positioning her characters in space and of constructing intimacy.” (NRC Handelsblad, Rotterdam 11/10/1991)

“Her work of dance Cages reveals itself as a fragile and delicate play of characters, symbols and sparkling movements.” (Rotterdams Dagblad, Rotterdam (11/10/1991)

“Despite the depressing subject matter, Kirsten Debrock evokes a remarkably aesthetic environment in which one would rather expect of fairy tale-like images.” (De Typhoon, (14/10/1991)


“Magnificent. Every movement hits its target. Moreover, not only the movements are beautiful. The body, the head, everything is painstainkingly integrated. in the choreography.” (De Gelderlander, Arnhem, 29/12/1997)

“Kirsten Debrock has beautiful ideas ...” (Arnhemse Courant, Arnhem, 29/12/1997)

“Of the three pieces [of the evening], hers is the only one that succeeded ... ” (De Volkskrant, Amsterdam 29/12/1997)

“Kirsten Debrock is the only one to work in terms of dancing rather than in terms of situations. Cel has strong moments.” (NRC Handelsblad, Rotterdam 29/12/1997)

De pas perdus

“A flashing stroke from Kirsten Debrock” (Midi Libre,, 11/05/1998)

Double Level

“Here is an independent choreographer who cannot be pigeonholed. ... This Double Level is exciting. ... Kirsten Debrock is overflowing with an imagination that finds all possible solutions to the arrangement of space. The spectator watches with growing interest ...” (Danse,, 12/2001)

“... clever” (Danse), Paris, 01/2004)

Double Level develops in a structure ... where the dancers evolve in a play of abstract movements that in its delicacy is sometimes akin to Asian theatre.” (Nice Loisirs, Nice, ???)

Douce Amère
  “The choreography is mesmerizing. Here Kirsten Debrock has offered us a creation of great quality.” (La Tribune de Genève, Genève, 02/12/2002)

  “Energetic, visual, playful; and especially technically complicated, Dreamscape belongs to the Great School of Dance” (Volkskrant, The Hague, 06/03/1991)

“The award for most inventive movements goes to Kirsten Debrock ... By its slow and fluid tempo, Dreamscape is endowed with a dreamy atmosphere. Really magnificent. ...” (Utrechts Nieuwsblad, Utrecht 6/3/1991)

Dromen en bedrog

“Nightmares of haunting beauty ... Restlessness, stress, anxiety, hope and blessed release, they all assail the spectator. But, whatever the emotion, one is entirely captivated. Attention does not wane for a single moment. Not bad, not bad at all for an entire evening show.” (De Gelderlander, Arnhem, 12/04/1999)

Dust in my Wings

“The importance of Debrock's work lies precisely in her repertory of contrasts, the complexity that progressively grows, the mixture of objective coldness and sensuality. ... One would like to see more work of this choreographer. (Diario, Zaragoza, 16/01/1993)

French Dinner

“The orgy-like Last Supper, conceived by Kirsten Debrock on Telemann's Tafelmusik, is a figurative ballet representing in white purity an utterly amusing disaster. A performance very suitable to a young and libertine taste, a sort of round bed offering values of buddy friendship, and that lets us see how art ... must provide pleasure.” (El Periodico, Zaragoza, 16/04/199?)

“A baroque drinking party on the music of Telemann with dancing without ever taking taking a breath. Everybody is enjoying himself, and the joy is contagious. Here is the proof that, without forsaking itself, contemporary dance can translate the imagination and the context of the seventeenth and eighteenth centuries...” (El diario de Zaragoza, Saragosse, 16/4/1994)


“The works [of Kirsten Debrock] are dynamic, with classical gestures. Here, the old (and sound) tradition of European dance is at work. Girmen ... is agitated and sexual. It is a delicious candy that should please the little girls crazy with dancing who feel like chucking their painful toe shoes or their tutus ...” (La Marseillaise, 12/01/199?)

Les nuits d'été

“There is an exciting ballet ... very pleasant and with all brakes loose ...” (Danse, 01/1993)

Limite sans limites

“The dance is dancing, round and rount, projected ...” (Midi Libre, 1/10/1995)

“In these meager times, impossible not to mention the performance of the ‘Muses’” ... “The performance seduces, even if it may disturb the defenders of the ‘jeune danse française ’ style” (La Marseillaise, 10/08/1995)

“There is no doubt that very soon she will display great qualties.” ... “it is far better than anything that is done elsewhere, because it has energy, freshness, and because it speaks of ourselves.” ... “Hurry, they need your support, for they represent the future of popular dance.” (La Marseillaise, 27/06/1995)

Nosathev Laurùndra

“... magnificent ...” (De Gelderlander, Arnhem, 05/06/1999)

“There is no doubt that, of all the pieces of [the evening], the piece that was the most convincing, the most choreographically concise, and supported by a homogenous performance of the dancers, is Nosathev Laurùndra by Kirsten Debrock.”


“[The piece by] Kirsten Debrock is pretty.” (De Volkskrant, Amsterdam, 03/03/1998)

Récolte d'hiver

“[Récolte d'hiver est] is utterly enchanting, a trio danced on the magnificent ‘Double concerto’ de Ligeti.” (La Marseillaise, Marseille, 19/12/1995)


“... a magnificent solo on points danced on a composition for percussion.” (La Marseillaise, Marseille, 19/12/1995)

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