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The eternal love for props
"Impressive scenes, exactly choreographed, almost artistically performed sequences. (...) Precisely acting bodies of dancers, turning in a whirl, rule the stage... They embody themselves in the phrases, act out their energetic surplus. Carefully directed, moulded into a form. That´s the way Gstettner´s Tanz*Hotel has functioned for years and electrifies the audience"
Ursula Kneiss, Der Standard, April 11th, 2002
In the enchanted woods
"Gstettner mounted the scenes perfectly on the huge stage of the Odeon and likewise perfectly another room fits in like an internal skin: Günther Rabl´s composition (...) builds an acoustic space in which not only the dancers move but into which also the audience can fall. (...) With *Katharsis Bert Gstettner gets the certificate of a magician of images."
Ditta Rudle, tanz.at, April 13th, 2002
Through fire and water
"Against the actual fashion in moving theatre Bert Gstettner decided for a very sophisticated and ballettic choreograpic interpretation. (...) Once more, Gstettner tried to realize his claim of a „Gesamtkunstwerk“. Clear images and metaphors engrave themselves in one´s mind."
Brigitte Suchan, Wiener Zeitung, April 11th, 2002
Archaic images, roaring music
"The attempt to create a theatrical event with this title seems to be hopelessly doomed to failure. Bert Gstettner and his Tanz*Hotel take the risk, and this gives evidence of an admirable courage. The fact that the attempt succeeds is something like a theatrical miracle. (...) The effect of the work on stage comes (...) from the perfect interplay of composition and choreography which coexist with equal rights and key in with one anothe."
Jürgen Bauer, Progress, April 9th, 2002
Acoustic adventure with image
"(...) „Flying sparks“, a crackling and creaking sequence, is provided by the choreographer with clear, simple dance forms. In the „Wind Intermezzo“, several beautiful scenes succeed. (...), in „The Poor Minstrel“, the ending provides the audience with the answer, a meditative zen-picture"
Andrea Amort, Kurier, April 11th, 2002
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Scenography