6-NUCLEODANZA compañia-company

Has co-directed independent contemporary dance company NUCLEODANZA from 1974 to the present. The repertory of over 55 works for this company is mostly hers and of co-director Susana Tambutti.

NUCLEODANZA has on occasions invited other choreographers to set pieces on the group such as ANA ITELMAN, OSCAR ARAIZ, ANAMARÍA STEKELMAN, MAURICIO WAINROT, JULIO LOPEZ, ANA DEUTSCH (Nucleodanza member for many years) and DON ASKER (Australia).

The number of dancers in the group has varied with the artistic and economical necessities from three to twelve dancers.. NUCLEODANZA had an active international touring schedule and it was necessary to concentrate on a very small group with many works that were created for one to four dancers. NUCLEODANZA has also presented choreographies for larger casts, mostly for the local productions in Buenos Aires.

Among these works are Ráfagas, Biosfera, De Saco y Corbata, Judith and Linea deFuga, Naufragio in Vitro (all Bali works) and Jugar con Fuego, Como de Costumbre, Lava , Ketiak and Muerte Anunciada en el guion (all Tambutti works).

The first program from Argentina is striking, unusual, thought-provoking and brilliantly performed. The opportunity of seeing such a group is what festivals are about.
The choreographers’ creations indicate a high degree of intelligence and probe psychological layers in a way not often seen in dance. At the same time they pack a prodigious punch and are thoroughly entertaining. THE AGE . Australia. Melbourne. PATRICIA LAUGHLIN (12-9-92)

They are theatrical, dramatic and hysterically funny. Their humour is used to make biting commentary on their tragic, recent history…Laughter relaxes the viewer, opens the mind and imagination, so the tragic twist hits the mark with more force. The most powerfull performances ride this edge between funny and tragic. NUCLEODANZA plays on this edge in much of their work. THE DURHAM SUN. USA. Durham. SUSAN BROILI (28-6-89)

Das Ensemble, das sich seit funf Jahren durch erforgreiche Tourneen einen namen in Europa, America und Asien gemacht hat, wählte für das Guiessener Publicum drei prägnente stucke aus seinem Fundus. Das erfrischende Gastspiel verzauberte in erster Linie durch seine Grenzenlosigkeit: tanzende Gegenstände, úberschrittene Tabus und ein orgiastisches Finale-das Publicum nahm es dankbar an. GIESSENER ANZEIGER. Germany. ANTJE PASSENHEIM. (21-10-91)

The tango is generally thought to be a luscious, somewhat swaggering display of sensual bravura. NUCLEODANZA was all that and more-much, much more-as it ended the Pittsburgh Dance Council’s season with an international flair.
Even though much of their work has a strong cabaret feel in the darkest germanic style, it was the rhythm, the music, the soul of the tango that provided the lifeline for their choreography. THE PITTSBURGH POST GAZETTE. USA. Pittsburgh. JANE VARNISH (15-6-91)

The group has brought to our shores an unusual theatrical performance that amazes and entertains. This is more than a dance performance : it is an adventure into a world of reality in which imagination is the key ingredient. The group pokes fun at our stereotypes, laughs at the male chauvinist and the flirtatious female. RICHMOND NEW LEADER. USA Richmond. FRANCES SCHOOLS (26-6-89)

Dazu servieren sie ein Bewegungstheater, dessen beissender Sarkasmus an Pina Bausch erinnert und dessen phantasiesprühende Dynamik bisweilen doch sudamerikanische Folklorestimmung andeutet. WESTDEUTSCHEZEITUNG. Germany. Dusseldörf. MARTINA NIKLAUS

NUCLEODANZA parle une langue complète, forte, profondément originale,et c’est à notre oeil et notre oreille d’apprendre: leur expressionisme virulent est un moyen choisi, pas un accident des limites L’EXPRESS. Switzerland. Neuchatel. (28-4-92)

“NUCLEODANZA´S evolution under the direction of Margarita Bali and Susana Tambutti has been considerable and very profound in their long history. It is surely the Argentine independent contemporary dance company that has travelled most frequently and to more places: Europe, North America, South America and the Orient. This fact might have no bearing when it comes to make a critical judgement: what is really important is their profile in a direction that dwells more and more on technical excellence and deepness of expression”
Silvia Gsell, LA NACIÓN , November 23, 1995

“Lo que mantiene al espectador aferrado al trabajo de NUCLEODANZA es fundamentalmente un aura, una mordaz sensibilidad que penetra todo lo que sus intérpretes hacen.” Alan Kriegsman, THE WASHINGTON POST, 17-2-92