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Mariana Camiloti dancer, "Stage" by Antonio de la Fe, 2015 Photo: Ricardo Correia


EVOLVE by anthologyofamess Collective, 2017


"EVOLVE’s unerring line of constant evolution, these performers royally disprove it. Their spatial acuity, their inventiveness and their fluid forms may be hard to capture and slippery to hold in memory, but the effect is of a dream in which images vie with one another and superimpose in spatial freeform. But that’s the thing with dreams: they have an illogic and unreality that is memorable."  (Nicholas Minns, Writing About Dance)

In the Middle with You -  with Hagit Yakira Dance Co, 2013-2015


"Mariana Camiloti delivers an absorbing floppy, yet strong, floor-based solo, a continual round of collapsing, rolling, twisting and standing only to lose balance again. She seems too fragile to remain upright and yet there is also this inherent core stability of dynamic power..." (Graham Watts, London Dance)


"Mariana Camiloti’s solo is particularly breathtaking. Tiny yet strong, she spins incessantly, increasingly out of control, like a doll trapped in a typhoon. Resting only when she is caught and cradled by another dancer...". (Laura Hayward) 

27 Dragonflies, 2013

"Mariana Camiloti exudes presence from the moment of her entrance..." Her visual landscape increases in brilliance and we are treated to seeing Camiloti really move: It is breathtaking, full of lightness and clarity, and it leaves me wanting more..."This is an intensely personal world, to be individually experienced in all its delightful surreality..."

(Elise Nuding, Cloud Dance Festival)


“Camiloti made a personal connection investing some of our own emotions into her quest for a sense of lightness…" (Keith Watson, Metro)


“She is elegant, graceful and polished..." (Gail Schock, London Dance)


Cameo -  A finalist of The Place Prize for Dance, 2011


"A unique and intelligent concept performed immaculately through swift spatial interchanges." (Fiona Campbell, Run- Riot)


“Smart fusion of structural game playing and emotion” (Judith Mackrell, The Guardian)


“Stylish and imaginative ... A satisfying vignette which fêtes Hitchcock and his compatriots” ( Katie Fish, LondonDance)



(Luke Jennings, The Observer)

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