Битеф

„U pesmi Aquarius, Malikovska divno prilagođava svoj glas atmosferi mjuzikla Kosa. Ona prirodno ostvaruje interakciju sa publikom i veoma uspešno vodi dijaloge s likovima sa monitora, što je, takođe, zasluga i tehničke ekipe. Sinhronizacija individuainih replika sa scene i ekrana je, naprosto, odlična. Kao i forma umetničkog izražavanja.“ Anita Nowak, The Theatre for You „Njihove priče eine odlično režiran dokumentarac, koji savršeno predstavlja fenomen umetnika, ali bez egzaltacije ili prekomerne mitologizacije. To je često kolaž iznenađujućih sećanja i iskustava ljudi koji se, kao Kantor, nisu plašili da eksperimentišu na sceni, ali su, suočivši se s njegovim radom, biti iskreno iznenađeni. Autori odlično montiranih intervjua zaslužuju pohvale za svoj rad. Jedna od prvih scena, kada Artman biva suočen sa nizom monitora i, mašući kažiprstom, nagias pita: ‘Šta znamo o kralju Solomonu?’, pravo je remek- delo.“ Marta Leszczyriska, Gazeta Wyborcza Bydgoszcz online

It is difficult to judge whether it is a true diagnosis, or just an old people’s yearning for the most beautiful of all the worlds - the world of youth.” Jarosfaw Reszka, Express Bydgoski “In the song Aquarius, Malikowska adjusts her voice beautifully to the climate rock of Hair, the musical. She interacts naturally with the audience and leads dialogues with characters from the monitors extremely reliably, what is certainly also thanks to the technical team. The synchronization of individual lines from the stage and the screen is excellent indeed. So is the mode of the artistic expression.” Anita Nowak, The Theatre for You “Their stories make a well-directed documentary, which perfectly shows the phenomenon of an artist but without exaltation or superfluous mythologizing. It is often a collage of surprising memories and experiences of people who, like Kantor, were not afraid to experiment on stage, but in the face of his works they were genuinely stunned. The makers of a very good montage of interviews deserve credit for their work. One of the first scenes, when Artman faces a ‘set of monitors’ and waving his forefinger he asks aloud: ‘What do we know about King Solomon?’, is a real masterpiece.” Marta Leszczyhska, Gazeta Wyborcza Bydgoszcz online

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