“Hód’s work tends to uncover her unique working method which in a way equals her work itself–its transparency covers secrets, its matureness remains open yet harbors some exciting and proliferous uncertainties. Tension arises from the meeting of the quasi-freedom of improvising methods of different resultants with the definite structure. The superb quartet of performers is unified yet each character can shine, the dancers feel and live the piece and themselves within and through the piece. The different garments–sometimes worn in extreme ways, like t-shirts on the heads, bras sideways or underwear stuck between buttocks–partly uncover “the structure of matter in movement”, i.e. the muscles, the joints, the breasts, the balls, the penis; the penis which is actually grabbed by a female hand and thank God remains intact…However, it is the most extreme actions that entirely lack eroticism. Body parts and even bodies are somehow objectified and the resulting instrumental transience has some demonic nature to it, something more than just bodies: an element of unconscious from the depth of consciousness that cannot be addressed. Something hopelessly infernal. Like a danse macabre.”

Péter, Márta (11.09.2014). A halandóság feltételei adottak (Terms of mortality given),

“Garments and bodies are touched with no curiosity or shame. Everything which is not forbidden is allowed–and here nothing is forbidden.”

“The performance is engulfed by encounters in an existence with no stoppers, by the acceptance of playing with others and with ourselves, and by unconditional trust.

As we all know, one day Paradise will close its gates. But do we really know it?”

“Adrienn Hód is a creative choreographer who, when she stumbles, always does so forwards. What is more, nowadays she does not really stumble at all. She has had several nominations and lately, has been awarded the Rudolf Lábán Prize recognizing Hungary’s best contemporary dance performances twice.”

Török, Ákos (16.09.2014.). Zajok az édenkertből (Noises from the Garden of Eden), 7óra7

„Hód’s work is a parody of styles using yet travestying the painfully blatant clichés of opera and theatre (first scene), and the mannerism of classical ballet (third scene). She is sparklingly playful with kitsch (second scene) while strongly building on the primary and raw brutality of the dancers’ existence on stage–dancers get wild and Hód seems to bring forward some of their faces that have never been seen before.”

Králl, Csaba (14.10.2014.). Őrültséggel teljes (Full of madness),

„The piece runs out of invention rather than steam, but maybe the point is to rub our faces in humanity’s cyclical behaviour patterns, juvenilia and gross excess. This willingness to go so skillfully, wackily ape-shit is very winning.”

Donald Hutera: Aerowaces Spring Back review, 2015 April

„It’s an emotional drag show. Only the surface of the body is on ecstasy, but it makes both the inside and the outside vibrate.”

Mateusz Szymanówka: Aerowaces Spring Back review, 2015 April

„Within the disharmonious, loud beauty onstage the epilogue is a pause, as this blasting piece actually never started and will never end.”

Gaia Clotilde Chernetich: Aerowaces Spring Back review, 2015 April