PRESA despre Razvan Mazilu

Numele lui Razvan Mazilu se asociaza indeobste cu un regal al dansului. Datele sale coregrafice atat de personale, eleganta, frumusetea miscarii, marea sa expresivitate scenica, tot ceea ce face din el un aristocrat al miscarii in contrast cu aparitiile “chinuite” pe care le cultiva in genere dansatorii români contemporani… Imensul potential de teatralitate al dansatorului si coregrafului, Razvan Mazilu s-a impus de fiecare data.
Okean, 2003

Invitarea acestui formidabil dansator a fost extrem de benefica pentru Seara de balet a Operei Nationale: in rolul Bernardei Alba, Razvan Mazilu egaleaza (lucru pe care il creadeam imposibil) pe Luc Bouy (senzationalul interpret al lui Mats Ek), iar intruchipandu-l pe Bottom intregeste cu haz cealalta fata a teatrului.
Melos, 2003

Sub titlul Bolero. Regele pierdut, conceptia coregrafica il aduce pe Razvan Mazilu in fata publicului salutand ceremonios ca un rege adevarat, zambind “supusilor” imaginari, imbracat intr-un elegant costum de epoca (…) mimica si intreaga miscare conferita trupului sunt de o plasticitate impresionanta…
Curentul, 2002

Razvan Mazilu – exceptional in Cantec amar, in care a demonstrat cum poate fi tratat elementul folcloric românesc departe de schemele idiliste.
România Literara, 2002

Razvan Mazilu danseaza si gandeste in acelasi timp, fara ca reflectia sa-i stanjeneasca pasii, sau ca elanul corporal sa-i tulbure meditatia. Gala extraordinara de balet in regia lui Mazilu arata ca dansul bine integrat inr-un demers cultural de calitate poate deveni “una cosa mentale”.
Dilema, 2001

Controlul atent al mimicii si inteligenta motorie il fac expresiv chiar atunci cand nu danseaza. Se poate spune, si imi masor cuvintele, ca ipostaza lui Julien Sorel propusa de Razvan Mazilu in zona dansului este comparabila cu aceea pe care Gerard Philippe a oferit-o odinioara lumii filmului.
Dilema, 2001

Un dandy al zilelor noastre, in sensul cel mai pur al cuvantului…
Cosmopolitan, 2001

Cel mai bun, cel mai spectaculos dansator de dans contemporan din România. Tanar, a muscat din glorie.
Privirea, 2001

O stea a baletului românesc, Razvan Mazilu se transfera, cu dansul lui cu tot, in gradina spinoasa a regiei de teatru. Si o face cu succes desavarsit.
National, 2001

Talentul exceptional al lui Razvan Mazilu, aici in ipostaza de dansator, artist complex, care adauga rolului subtilitatii teatrale, face din Julien Sorel un personaj memorabil.
Formula As, 2000

Gandita in raport cu personalitatea extrem de interesanta a balerinului Razvan Mazilu, coregrafia destinata personajului central, Julien Sorel, se desfasoara pe coordonatele specifice limbajului contemporan. Pentru ca Razvan Mazilu este cu siguranta, unul dintre cei mai reprezentativi dansatori români ai sfarsitului de mileniu, talentul sau fiind dublat de capacitatea de investigare si consultare a personajelor…
Muzica, 2000

Razvan Mazilu, acest “copil teribil” al dansului contemporan…
Evenimentul zilei, 2000

In Razvan Mazilu, coregraful a gasit un excelent dansator si un convingator talent teatral cu o tehnica sigura.
El umple scena cu prezenta sa plina de forta timp de 65 de minute fara sa sacrifice o clipa tensiunea
Ballet Tanz Actuell, 1999

Cu Jocul de-a Shakespeare Razvan Mazilu dovedeste – ca si cum mai era nevoie – ca este, poate, talentul cel mai complex afirmat in zona artelor spectacolului.
Teatrul Azi, 1998

Spectacolul Jocul de-a Shakespeare se constituie
intr-un moment de exceptie al coregrafiei contemporane, prin forta marelui talent Razvan Mazilu. Calitatile speciale de mim i-ar putea permite abordarea cu brio a oricarei partituri de teatru, intrucat poseda capacitatea de evocare a unui pasaj emotional. Este, cu alte cuvinte, si o forta dramatica de exceptie.
România literara, 1998

Mazilu uneste dansul in libertate cu gestul pur teatral. Devine pe rand strigat de cucerire, durere muta, pofta de viata si ras homeric, cautare patetica si violenta, acceptare smerita si iluminata.
Privirea, 1998

Fara nici un dubiu, Jocul de-a Shakespeare al tanarului balerin Razvan Mazilu este o victorie in fata zadarniciei.
National, 1998

Razvan Mazilu este o prezenta fascinanta: prin tinerete si eleganta, prin expresivitatea tinutelor statuare in care tors, maini, chip se modeleaza intr-o misterioasa floare carnala.
Curierul National, 1998

Dansul lui Razvan Mazilu genereaza o stare de gratie, emanand aura veritabilului har artistic.
România literara, 1998

Plutind parca prin vazduh, Razvan Mazilu a oferit un spectacol rascolitor, patetic, savuros, palpitant.
Formula As, 1997

Razvan Mazilu – un fenomen al lumii teatrale si coregrafice din România… reprezinta noua imagine a balerinului la sfarsit de secol XX.
Curentul, 1997

Daca dansul mai are un viitor in România, urmarirea carierei lui Razvan Mazilu va fi un barometru exact.
Dilema, 1997

Un real talent creator, dublat de o personalitate puternica, deja conturata si o viziune complexa a spectacolului coregrafic, fac ca Razvan Mazilu sa fie un nume de la care asteptam mult in viitor.
Cotidianul, 1994

Alaturi de coregrafii consacrati, s-a relevat spectaculos un tanar de 19 ani, Razvan Mazilu.
România literara, 1993

“Marea bomba” a Festivalului Eurodans a fost lansarea in debut oficial a studentului Razvan Mazilu de la Academia de Teatru si Film.
Forum Cultural, 1993

PRESS

Razvan Mazilu’s name is especially associated with a feast of dance. His so much personal choreographic coordinates, the elegance, the beauty of the moment, his great scenic graphicalness, everything that makes him an aristocrat of the movement, in contrast with the “overelaborated” appearances which are mainly favoured by the contemporary Romanian dancers…
The huge potential of dramatic expression of the dancer and choreographer Razvan Mazilu has imposed itself each time.
Okean, 2003

Inviting this formidable dancer has been extremely benefic for this Evening of Ballet of the National Opera House: having the part of Bernarda Alba, Razvan Mazilu rises to the performance (thing which we thought impossible) of Luc Buoy (the sensational performer of Mats Ek), and having the part of Bottom, he completes, in a relishing manner, the other face of the theatre.
Melos, 2003

Under the title Bolero. The Lost King, the choreographic conception brings Razvan Mazilu in front of the public, greeting ceremoniously like a genuine king, smiling to the imaginary subjects, dressed in an elegant costume of the old times (…) the mimics, along with the whole movement conferred to the body bear an impressive plasticity.
Curentul, 2002

Razvan Mazilu – exceptional in Bitter Song, in which he proved how the Romanian folklore element can be approached in other ways than using the idyllic clichés.
Romania Literara, 2002

Razvan Mazilu is dancing and thinking at the same time, without having his steps hindered by the thought, or his meditation disturbed by the bodily impetus.
The extraordinary ballet gala directed by Razvan Mazilu shows that having the dance well integrated in a valuable cultural approach can become "una cosa mentale".
Dilema, 2001

The attentive control over the mimics and the driving intelligence make him expressive even when he is not dancing. It can be said, and I pay attention to my words, that the hypostasis of Julien Sorel suggested by Razvan Mazilu in the area of dancing is comparable to that which Gerard Philippe has once offered to the film’s world.
Dilema, 2001

A dandy of our times, in the purest sense of the word…
Cosmopolitan, 2001

The best, the most impressive performer of the contemporary dance in Romania. Young as he is, he has tasted the glory.
Privirea, 2001

Being a star of the Romanian ballet, Razvan Mazilu moves together with his dance in the ticklish garden of theatre production. And he does it with a perfect success.
National, 2001

Razvan Mazilu’s exceptional talent, here in the hypostasis of a dancer, of a complex artist, which adds dramatic finenesses to the part, makes a memorable character out of Julien Sorel.
Formula As, 2000

Created by taking into account the extremely interesting personality of the ballet dancer Razvan Mazilu, the choreography meant for the main character, Julien Sorel, displays on the specific coordinates of the contemporary language. Because Razvan Mazilu is surely one of the most representative Romanian dancers at the end of the millennium, since the capacity of exploration and of outlining the characters is added to his talent.
Muzica, 2000

Razvan Mazilu, this <enfant terrible> of the contemporary dancing.
Evenimentul Zilei, 2000

In Razvan Mazilu, the choreographer found an excellent dancer and a persuasive theatrical talent with a well defined technique. He fills the stage with his full of strength presence for 65 minutes, without sacrificing the tension for a single moment.
Ballet Tanz Actuell, 1999

With Playing Shakespeare, Razvan Mazilu proves – as though it were necessary any longer – that he probably is the most complex talent of Romania in the area of the fine arts.
Teatrul Azi, 1998

The play Playing Shakespeare represents an exceptional moment of the contemporary choreography, through the force of the great talent Razvan Mazilu. The special mime qualities could allow him to approach successfully any theatre parts, since he has the ability of evoking an emotional landscape. In other words, he is also an exceptional dramatic force.
Romania Literara, 1998

Mazilu combines the free dancing with the pure dramatic gesture. In turn, he becomes cry of conquest, lust for life and Homeric laughter, violent and touching hunt, obedient and illuminate acceptance.
Privirea, 1998

There is no doubt that Playing Shakespeare of the young ballet dancer Razvan Mazilu is a victory against futility.
National, 1998

Razvan Mazilu is a fascinating presence: by youth and elegance, by the expressivity of the statutory port in which the torso, the hands, the face mould in a mysterious carnal flower.
Curierul National, 1998

Razvan Mazilu’s dancing generates a state of grace, giving birth to the aura of the veritable artistic gift. Romania Literara, 1998

As if floating in the air, Razvan Mazilu offered a stirring up, touching, charming, thrilling show.
Formula As, 1997

Razvan Mazilu – a phenomenon of the theatrical and choreographic world of Romania…he represents the new image of the ballet dancer at the end of the XXth century.
Curentul, 1997

If dancing still has a future in Romania, following Razvan Mazilu’s career will be an exact barometer.
Dilema, 1997

A genuine creative talent, to which an intense personality is added, already outlined, along with a complex vision upon the choreographic performance, make Razvan Mazilu a name which we expect a lot from in the future.
Cotidianul, 1994

Along with the acknowledged choreographers, the 19 year old young man, Razvan Mazilu, became conspicuous in a spectacular way.
Romania Literara, 1993

The great bomb of the Eurodans Festival was the launching in an official debut of Razvan Mazilu, student at The Academy of Theatre and Film.
Forum Cultural, 1993