Judith Brin Ingber , "Dance in Israel"
http://www.danceinisrael.com/2014/01/gazing-anew-at-jugs-curves-and-maps/
"I was instantly caught up in the solo called Mr. Nice Guy by the outstanding dancer/choreographer Anat Grigorio. It graphically or should I say choreographically and performatively dealt with the politics of The Male Gaze as it’s come to be known. What is the effect of the male looking at the woman and objectifying her? In this case, we in the audience are captivated watching Grigorio dancing in her chic, black, backless short dress, sometimes covered with a lush leopard coat. She tries over and over to physically answer the demands of a guy for whom she’s apparently auditioning. With no set to soften what we see and no music to distract us from the voice, we watch Grigorio trying to please the demanding voice. She changes her body and her dance to fit his directions. His disembodied cloying voice is relentlessly demanding and asks what seem to be impossible moves and positions. Amazingly, she succeeds as she’s led into faster and faster executions of more and more grueling shapes and phrases. We cheered for her at the end for two-fold reasons: to buck up the maligned and underappreciated woman we had seen auditioning and also to cheer the superb dancer that is Grigorio who has such pizzazz and an extraordinary technical facility…"
http://www.danceinisrael.com/2014/01/gazing-anew-at-jugs-curves-and-maps/
"I was instantly caught up in the solo called Mr. Nice Guy by the outstanding dancer/choreographer Anat Grigorio. It graphically or should I say choreographically and performatively dealt with the politics of The Male Gaze as it’s come to be known. What is the effect of the male looking at the woman and objectifying her? In this case, we in the audience are captivated watching Grigorio dancing in her chic, black, backless short dress, sometimes covered with a lush leopard coat. She tries over and over to physically answer the demands of a guy for whom she’s apparently auditioning. With no set to soften what we see and no music to distract us from the voice, we watch Grigorio trying to please the demanding voice. She changes her body and her dance to fit his directions. His disembodied cloying voice is relentlessly demanding and asks what seem to be impossible moves and positions. Amazingly, she succeeds as she’s led into faster and faster executions of more and more grueling shapes and phrases. We cheered for her at the end for two-fold reasons: to buck up the maligned and underappreciated woman we had seen auditioning and also to cheer the superb dancer that is Grigorio who has such pizzazz and an extraordinary technical facility…"
Anat Zecharia ," Yediot Haharonot "
"... "Mr.Nice Guy" is a phenomenal solo dance performance of Anat Grigorio its examines our borders and tests how far we are willing to give up on ourselves. How much we adapt our dimensions to others around us. How, for our behalf, we don’t forget the rules of the game: if we will give up on our uprightness and become subservient we will give up on our self – BUT it will increase the chances to be loved. Grigorio takes all those external & internal voices which we let them lead us and bring them to stage with 45 min' sensitive solo. Anat is a wonderful dancer and a gifted performer she manages to create in her work a radical move of skepticism or self-criticism, undermines the possibility of the predetermined self and undermines the possibility of the known essence ..."
"... "Mr.Nice Guy" is a phenomenal solo dance performance of Anat Grigorio its examines our borders and tests how far we are willing to give up on ourselves. How much we adapt our dimensions to others around us. How, for our behalf, we don’t forget the rules of the game: if we will give up on our uprightness and become subservient we will give up on our self – BUT it will increase the chances to be loved. Grigorio takes all those external & internal voices which we let them lead us and bring them to stage with 45 min' sensitive solo. Anat is a wonderful dancer and a gifted performer she manages to create in her work a radical move of skepticism or self-criticism, undermines the possibility of the predetermined self and undermines the possibility of the known essence ..."
Ivan Solarich, Artistic director of FIDAE International festival in Uruguay .
