« Un Discreto Protagonista reveals a poetic map of bodies within a process of abstraction that suspends time. And it expands it in the dance of the two great dancers ».

« In the condensation of gestural vibrations, physical reverberations, oscillations and collisions, postures on the ground in the intertwining legs or like deer fighting against each other, Bigi and Przytarski are particles and antiparticles, which expand and regroup, attract and repel, transforming themselves. They take shapes and consistency of humans in the reflex of the now tenuous, nebulous, impalpable or concrete light, which greets them, keeps them united and distinct, a light that sends back the energy released by themselves ».

[Giuseppe Distefano / Exibart – Read more]

« We are being carried away by the poetic alchemy of two men: on stage, the power of Damiano Ottavio Bigi and the elegance of Lukasz Przytarski. Two entities attract and contrast each other; it could be a story of love, brotherhood, or a breakdown starting from the same personality.
[… ] Bigi and Przytarski dance with their whole body, from fingers to toes, up to the head, in contagious ecstasy ».

[Andrea Pocosgnich / Teatro e Critica – Read more]

« A gathering of glances, which say without asking, and of hands, which greet without answering. Damiano Ottavio Bigi and the Polish Lucasz Przytarski dance and run into each other in a totally white environment. Scandicci’s Teatro Studio is a blank page that holds the drawing in the becoming of trajectories that immediately elude, expand and thin out. They’re both looking for each other but still cannot find each other. It is the mirror play of two bodies forming the score of a joint will: to meet. Un Discreto Protagonista, conceived and directed by Alessandra Paoletti and Bigi himself (dancer of Pina Bausch and Dimitris Papaioannou), is that moment long built and longed for. We are faced with a work that makes perfection its colour, its burning. Bigi and Przytarski each have their style, but, at the same time, their different nuances reconcile the reflection of the quality of the partner’s approach: it is as if both are also an echo of what they have understood each other of other. The light that catches them close has almost impressionistic characters and tones, from Monet’s Le Déjeuner sur l’herbe to Renoir’s Bal au Moulin de la Galette. It is a vivid atmosphere, which, however, conceals an inextinguishable frenzy. After that moment, the dancers separate again: they cannot be two, united and together, over time, but always and only one. One plus one. On the way to the encounter, Un Discreto Protagonista discovers its legacy, the wound that torments the space between every moment: the loneliness ».

[Matteo Brighenti / Hystrio – 1/2023]