Articles

Flex Appeal (pdf)
Isthmus, April 27, 1998
by Sarah Freeman

Lathrop Gala Honors Dancer (pdf)
The Daily Cardinal, April 17-19, 1998
by Colin Camaron

Innovative Dance at the Union (pdf)
The Daily Cardinal, December 8, 1994
by Colin Camaron

Excerpts

“The performance of the ‘Choreographic Works by Anna Nassif’ can be only considered one of the outstanding landmarks…”Miss Nassif must not only be considered of the front rank in contemporary dance…, but she has managed to instill in her dancers the spark and élan that was so obvious in the recital.”

John Patrick Hunter
The Capital Times 4/29/65

“One of his most interesting pieces had been choreographed by Anna Nassif, with film sequences by Jackson Tiffany. This “Dance for One Figure, Four Objects and Film Sequences” embraced a simple but effective idea. Against a background showing Mr. Redlich dancing and suffering.”

Clive Barnes
The New York Times 10/17/66

“The live dance with film, choreographed by Anna Nassif with film sequences by Jackson Tiffany (Redlich dances on screen and on stage) is more than a tour de force. It is pictorially fascinating and its exploitation of depths and distances through the duality of stage and screen is a notable achievement.”

Walter Terry
World-Journal Tribune 10/17/66

“Choreographer Anna Nassif always presents a peculiarly personal vision that ranges from ingenuous to euphoria to a state that’s on the verge of lunacy. Audience reception of her work is just as personal: some are delighted, some are terrified;….”

Sondra Forsyth
Back Stage 4/23/71

In regards to her “Dance for One Figure, four objects and Film: “in this perfect example of interplay between a live performer and his film image - in both cases, Mr. Redlich – Miss Nassif goes beyond just a technical feat…It is rather the emotional flavor of the work that comes through most strongly.”

Anna Kisselgoff
The New York Times 3/17/79

“Her dances have the cumulative, innocent and intense quality that characterizes children at play before they are taught structured games. And no matter what imagery or mood she’s working with, she makes the dancer look attractive.”

Angela LeMaster
Isthmus 4/30/82

…”choreographed pieces done by Anna Nassif reflected this artist’s wide range of style. The first, “Nocturne,” moved the dancers gently through space, as in a dream. The long flowing costumes added to the fairy-like character of the dance. It was a piece for the imagination to delight children and adults alike.”

…”By far the most powerful and dramatic piece of the show was Nassif’s other work, “Tribe” part of six of Nassif’s dance epic that has been a year in the making. … The use of black and white, naturally dramatic colors, in costumes and props heightened the drama of the piece. An involved and complicated work, the music drew the audience in and caught them up in the struggle. The native beat and message of the piece were an emotional trip for the audience.”

Cindy Anders
The Daily Cardinal 11/21/83

“Anna Nassif’s “Fountain, commemorating last week’s UW” Frescobaldi Quadrocentennial, was a solo for Jan Perkins that became duet as the dancer’s shadow moved in depthless synchronization over slide projections of Bernini drawings.”

…”Nassif’s second work, Part II of “Hexagonal Landscapes,”: was even more theatrical. It was set in an Edenic garden full of ritualistic serpents, with Adam and Eve tormented by a pagan God.

David Medaris
Isthmus 4/22/83

“Characterizing H’Doubler, the title work, subtitled “A Choreographic Essay,” was Nassif’s most interesting piece, ranging from the physics of relativity to tea sipping. As for Einstein’s theory, simultaneity and the absolute were abolished as line of dancers crossed the stage in varying direction, velocity and acceleration, some times meeting head on, other times passing right through each other.”

Frederick Kaimann
The Wisconsin State Journal 4/20/91

“Five Dances,” “seized its brief moment on stage and filled the room with a mesmerizing sense of the esthetic experience dance can be.”

James Rhem
Isthmus 11/10/95

…“in two pieces by guest artist Anna Nassif: “Augentanz,” an enigmatic spare solo stylishly danced by Ken Meyer; and the duet “Five Dances,” whose taut, specific steps are carried off with persuasive control by Denise Celestin and Kevin Veiga.”

Rhonda Holman
The Wichita Eagle 4/6/96