©MatthiasZölle

Cuentos del Camino - Wegerzählungen

A tetralogy of duos

View into the hearts

"Goldin switches from immobile simplicity of movements to overwhelming lust, expressed by an impression of grotesquely wrestling arms, hips and legs as well as by angular leaps. This reminds a bit on Mats Ek pieces although Goldin speaks his own language. You sit nervously on your chair and look into other people’s hearts - Fascinating!"

B. K., Stuttgarter Zeitung, 15 April 1995


Full of yearning

"The track seems to be predefined, but it quickly gets lost in the dark. Daniel Goldin takes four trials and every one of his ”Cuentos del Camino”-Stories from along the way, put on stage in Stuttgart, takes a different course. Goldin from Argentina, although, influenced by the choreographies of Pina Bausch and the Essen Folkwang Tanzstudio, shows drafts of character, double portraits, analyzes relationships. He does that very carefully without big gesturers, concentrating on two people who first need the ability to feel before they are able to rely on each other.
(...) Despite his artistic ability and interested light show (Roger Irman), Goldin always stays very realistic. His choreography is still enthusiastic and unspoilt and reminds of the ballets of Mats Ek. It can be bright and funny and despite the gravity and heaviness still seems to be swaying. It shows life yet the light at the end of the tunnel may be death. In short: a ”tetralogy” which is more than talent’s proof. Look out for Goldin!"

Hartmut Regitz, Stuttgarter Nachrichten, 19 April 1995


Praise of efforts

"(...) Daniel Goldin disposes of a rich diverse range of movements to illustrate the gradually changing moods of his ”stories from along the way”. He uses them with deliberation, rather cuts them in a leitmotiv way and avoids every surplus decoration. Goldin also has a male dancer (Daniel Condamines) and two female dancers (Lara Martelli and Juliette Boinay) who are able to use their bodies as an ideal medium for the expression of the various emotions."

Eva-Elisabeth Fischer, Süddeutsche Zeitung, 1 August 1995

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