"...I'll start by saying that Anat Grigorio does not have to do much To impress. It's enough to look at her standing on stage holding
Stably stabilizing her muscle-built body
Pinholes-perforations. She is an alpha female.
Long before she opened her mouth in a murderous monologue, there is already a sense of - WOW !
She is powerful. Self-confident. Strong stage presence. Charismatic. Funny. Hypnotizing. dramatic. Kicking. Painful. True. And also fake. Smiling her mischievous smile. Life shines its signs on her.
She snaps them back. Shamelessly. Giving everything she has. Suicide. Jihadist of performance.
There on stage, with two musicians in the background. Saxophonist . Contra Bassit. They conduct a musical dialogue between them. A nightly talk show. She runs lightly to the stage. In her high heels and sits down on the stage. She looks at us, looking back at her ,Examine her. As in a covert investigation trying to find out Who we are, who are you. and you. And you. And she. And the one sitting beside her. And the other one out there in the back. And what would you do? She asks us. She rolls word games over her tongue. Searching for lost identity. She is being ridiculous. she chuckles at stigmas we've caught Like stickers in the back window.
personal questions. Prying questions. Questions that random people like to ask. Questions that close people like to ask.
Questions we like to ask but do not dare to ask out loud because of the shame-
To tell the world what do you really feel. She questions us. Then she hurls herself against the floor.
Stripped of her clothes, of the labels Strangling her almost to death. She struggles with the demons inside her. Like a lioness. Like a wounded bird. Like a monkey. Like an animal in distress. Fleeing, out of the cage she had built for herself.
On another channel, a film about a woman in a dark bar with Celtic background music. She moved slowly, sensually. She built herself a monument of body and chair. She knows how to get out of complex situations. And you She asks, when was the last time you changed your sheets ? She hangs up the microphone wires And does not give up. On stage. Clothes become war clothes. One leg in a high heel and the other one- Alien to the body. prosthesis. Transplanted. In the end, she surrenders.
A lost falk dance wins her over She gives herself to the steps of the Hora -folk dance, Until it dissolves into a Suffi dance. She closes her eyes and gives in to the circular motion to spin her mind. A girl in the rain dripping new moments of labor, Like Botticelli's Venus created from the foam of the waves.
Congratulations! This is a woman.
With red-haired hair. She flaps gently on her skin and revels on each cell in her adult body. She moves with poetic slowness against the fast pace of music. She does not see us under the veil of defense of her loose golden hair. She knows we're watching on her. Hypnotized.
She knows she is not guilty . And so do you ...'
Yulia Frydin "Creative writing"
"...She will turn her suit into a uniform of guerilla warfare and a heel shoe to a weapon.
Grigorio has always been a physically strong dancer, but in this performance she manages to convey a range of physical expressive abilities - tenderness and fear, strength and readiness for battle and coarseness and violence. In one moment she will lie on her back, bend one leg on the floor, and the other will rise in the air, in a gesture that seeks to appropriate the power attributed to Phallus. Her movement is sweeping, mesmerizing and yet human and close. A paradox that Grigorio embodies in her body is between the injurer, offender text and her body when she stops the monologue / series of questions for a moment, and performs a sequence of movements that has a great fragility. She moves like an animal, far from the filters provided by language and technology, and seems to be looking for a safe haven in a stormy sea..."
Tal Levin , " HA ARETZ"
"...from the crowd, Grigorio bursts into the stage through the hall, an energy bomb that leaves a variety of moves and leaps and a huge open smile.
The work moves back and forth between several types. She begins with a free, sensual-smiling dance, and then moves directly to the audience, trying to take a look at someone specific to her, as many stand-up artists do. She begins with a soft tone: What would you do? And then raises a series of questions from the easy to the heavy and the tone begins to be more serious and the questions are penetrating and dealing with sensitive personal questions of national identity or gender issues are very detailed.
It is not by chance that Grigorio notes on the evening page that the concept of 'dance and performance combined with live music' drew its inspiration from television talk shows. Where a popular genre has emerged on television that is mixed with an artist-dancer-clown with an intimate orchestra, some Salbertians from the political kitchen ovation, who exchange antagonisms with the conductor. This genre has been successful for decades since the legendary Johnny Carson and his successors. The evening leader must have a personal charisma that allows her to be bold about the daring borderline and also to express sincerity and empathy and stay in the consensus. Here too, Grigorio does it with great grace in the everyday moments, and no less, in a sharp transition to Glam mode with minimal effort, like Carson and his successors.
Grigorio, a highly skilled stage animal, knows her strengths well. She combines them with a high awareness of her physical abilities, range of expressive abilities, her playful captivating spirit that allows her to jump between the genres with ease and work with the two charming musicians..."
Ora Brafman "Dance Talk"