Guest performance with Nye Carte Blanche, Jan-Feb ‘99

"A real treat is a journey into Øyvind Jørgensen’s world. The ex-Carte Blanche dancer has created a world which is part-Japan, part-epilepsy and partly a jarring, excitingly secret place that the audience can well define for his/herself.
Jørgensen’s solo is thankfully free of theoretical programme explanations and intellectualisation. His tripping feet, scathing grimaces and quivering muscles are a physical manifesto of dance expressionism, and an important reason to go and see this performance."
Marit Strømmen, Bergens Tidene, February 1999

"... Øyvind Jørgensen is alone on the stage and yet fills the space - and us - with this great inner power. He fights for his place in Life, for his own inner peace; he resists. He represents alternately the clown and the man. The piece is vibrantly and sensitively performed. A disturbing, unforgettable experience."
Annette Mürer, Dagbladet, January 1999

"Jørgensen is able to grip the audience with his presence and capacity for inner focus. He stands alone in a circle of light with bare torso and light wide trousers, his whole body vibrating - almost to the point of invisibility. One has the impression his body is slave to a hidden force pressing it out, yet at the same time it is trapped by an unseen outer frame. In this instance we have a full visualisation of how the body can be a prison. It is painful when there is not enough room for all that exists within it. Before he transforms into his final frozen position - a sculptured pose, his mouth in a silent scream, Jørgensen has taken us through many phases; from pain to absolute peace, from uncontrolled spasms to the greatest pleasure - and each phase is as clear as the last, on both a physical and emotional level. A strong performance that leaves a lasting impression on the audience."
Fredrik Rütter, Aftenposten, February 1999

Menn Danser, June ’98

"Black Box Theatre presents the Queer Stage Festival, where amongst others Øyvind Jørgensen creates a lasting impression with his solo, Songs Of The Last Hour. An enormous, energy-laden performance filled with angst and the 'struggle with Death'. If the artist Edvard Munch had been a choreographer, this may well have been the result."
David Thorn, QX, august 1998

"(Songs of the Last Hour is) a strong Butoh-inspired performance where Jørgensen shows his unbelievable talent as a dancer. I have never seen him better. One dancer who fills a huge stage. Only the light changes, lingering between gold and white. The music from New Age to The Future Sound of London. This in itself is courageous, and one can find many clichés in this choice of direction. But Jørgensen is so convincing in his choreographic diversity, and indeed the tightness of that choreography. The dancer extends himself from introverted trance-like movements to points way beyond the apparent limits of his body. Waves of movement fill the room; our inherent narrow-mindedness is showered with skin, with vibrations, with movement . . . "
Inger-Margrethe Lunde, Dagsavisen, June 1998

"(Jørgensen). . . has chosen a Butoh-inspired style for these extremely fascinating – yet frightening ’scream’. The movements are almost robotic and he has the ability to isolate the parts of his body to the point where he brings forth emotions from a deconstructed corpus. The final image - the entire body presented as a single great silent scream, with light sliding into the mouth, while life leaves the body - is powerful."
Fredrik Rütter, Aftenposten, June 1998