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In the Press

2002 | 2000 | 1999 | 1998 | 1997

(Articles translated by Vera)

2002

Vera Nevanlinna: V

"Contemporary dance in a rock club
...Nevanlinna seems to be at home on the stage of Tavastia Club. Not every dancer could make it...Movements are at the same time both sculpturally linearistic and clumsy, funnily girlish and ethereal beautiful...Nevanlinna’s characteristic, longlimp dancer’s body makes her look like a week bird creature...But weekness is just illusional: Nevanlinna has power and she grows strong on stage...Movements shift between rough jerkings, loosenings, fallings and straightenings. Often repeating hard and impressive movements, where the dancer is jerking herself away from herself on the floor or pushing her head against an invisible wall...There is rock’n’roll In Nevanlinna’s presence.
Anni Valtonen, Helsingin Sanomat

Rosane Chamecki and Andrea Lerner: Poor Reality

”Vera Nevanlinna is a dancer who catches your attention first. It’s lovely to watch her presence and accuracy.”
Annika Tudeer, Hufvudstadsbladet

”The research about one’s ego, finding it and the realness about it by the choreographer-couple is realized by the group of five terrific dancers...The intensity of the group who danced marvelously is perfect and the realization of the piece is accurate."
Pirjo Raiskio, Aamulehti

Ariane Anthony: Soolo isolle lentotaidottomalle linnulle

”...the solo reminds so much of the performer that you really can’t avoid falling into it. Birdlike Nevanlinna is forgivingly searching for an exit from her touching clumsyness and finds light movement from the ground.”
Anni Valtonen, Helsingin Sanomat


2000

Janne Saarakkala/Vera Nevanlinna/Pentti Luomakangas: Vera, Janne ja Pena kadulla

”Nevanlinna’s own dancesolo about ”Vera” is a delicious physical explosion. It is a description shown in movements about the chaos that fills up the head of a regular streetwalker. Her thoughts are heard: ”Someone should come and shoot everybody” and simultaneously the dancer throws herself into euforic gunfire of movements, from depression all the way into open exstatic sexuality. Nevanlinna is a dancer whose bodylanguage is full of lovely craziness and deliberate roughness. Aggressive wiggling of her links is at the same time comic and refreshing as an experience.”

Jussi Tossavainen, Helsingin Sanomat

Gruppen Fyra: New Dance Show

”There is a refreshing sparkle in the pieces about everyday life...Nevanlinnas’s Vastahitsi is a tableau of little scouters with hats with tails and uniforms on who burst with energy and militaristic discipline - always prepared with ”ready-to-go” - attitude...In Nevanlinna’s solo Green the bright kid’s room idyll of a ballerina and a mechanical musicbox gets united with an everyday story where a neighbour smashes another one’s face...The final of the New Dance Show is the premiere of a shortfilm Das Monolith directed by Kimmo Leed. ”The Fyranians” appear as the stars of the black-and-white film made in the 1920’s style. The film works great with the short dance pieces-shortfilms of dance.”
Anni Valtonen, Helsingin Sanomat

”Gruppen Fyra, whose smartly-conceived, quirkly pieces tend to last the length of a pop song. The obvious British precursor would be Lea Anderson in the earliest days of The Cholmondeleys...The half-dozen or so pieces on view at Full Moon demonstrated a nice range, from the comically rhythmic to the strangely surreal. The best may have been a short silent film, a freshly-felt and funny harkening back to the days of grainy expressionism.”
Donald Hutera, Dance Theater Journal

”Nohing like a dose of absurdity to shake the melancholy-in Kaurismäki-land you find lots of both. I started my cure by learning some finnish. Gruppen Fyra means group of four, although in this case, it refers to four delightful women and a man, who serve a ligh buffet of short pieces, loosely tied together by number six, who shares the story of her brief, hopeless career culminatinf in her wearing a black leotard. In between the others danced: abrupt, angular, grotesquely stiff movements inspired by expressionist silent movies, topped off by a short black and white film, same genre.”
Katja Werner, Dance Europe


1999

Katarina McAlester: Kuunkutojat

”The female trio who danced excellently stayed in the eyes and in the mind also because of their brave expression.”
Pirjo Raiskio, Turun Sanomat

”A term ”personal” also colors the fresh choreography of Katarina McAlester...There are goddesses of everyday life on the stage more than of glamour, but the dancers Nevanlinna, Frösen and Savolainen are not at all without power to charm...Nevanlinna has an exciting paradox of sensitivity and fire.”
Auli Räsänen, Helsingin Sanomat

Gruppen Fyra: The Best of Gruppen Fyra
among others: Mikko Orpana: Mosaiq,
Vera Nevanlinna: Miehet lakoavat siniviivalle


”...The prized choreography of Vera Nevanlinna Miehet lakoavat siniviivalle gives a perfect outfit to Erik Saties Gymnopedie. Two characters dressed in blue sportswear do calmfully athletic movements and patterns with their faces grave...Mikko Orpana has realized the special qualities of the dancers, especially for Vera Nevanlinna he has created a funny solo which uses soundeffects. Nevanlinna is alltogether a great performer who can use her personality and her ”cubicality” in her movements.”
Jussi Tossavainen, Helsingin Sanomat


1998

Vera Nevanlinna: Turpoo, paisuu ja pau

”The Theater Academys fourthgrades Swells, rises and bang got the first prize in the over 16-years-series. The choreography was made by Vera Nevanlinna, who danced skillfully in Arja Raatikainen’s solopiece in the Theater Academys fourthgrades-evening last November...Vera and the others danced as three rough-faced women with swimming hats on to the music of Motelli Skronkle...Vera Nevanlinna’s choreography worked well in the same malformed, brave, humoristic and angular style as were the music was. The choreography was clear, the material was centralized and the use of the wings was inventive...The dancers, Vera, Sannamari Koskela and Pia Tavela have womanenergy which has gone through a strainer and is as rough as a grater!”
Eeva Kauppinen, Kaleva


1997

Nelosilta. Tanssitaiteen laitoksen neloskurssi Aleksanterin teatterissa.

”Four dancepieces were shown from the fourthgraders. The brigtest and clearest performance was of the modern dancework teacher Arja Raatikainen´s solo choreography nais-files, Vera Nevanlinna as a dancer. nais-files filled the stage bravely and moved sraightly from corner to corner. The dancers basic position was like an egyptian art’s figure, whos body straight forward from the shoulders, the head and legs to the side. The choreographer made the dancer ”fall” from her role into normal walking and then took her again into the flow of movements. Nevanlinna kept the secret of the performance. She had ud´nderstood the continuance of the piece and was quite ready from her skills to to perform the piece, which was very clean and momently stopped work.”
Eeva Kauppinen, Kaleva

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