...it is easy to let yourserf go by the choreographers sensuality, by her very well executed movements, with precision, and some movements of authentic catharsis. Olga Tragant was given a farewell with a strong aplause. Her proposal was liked or not, but for sure it did not let you indifferent."

Regió 7, Gema Camps
november 2005, Manresa

“... a solo that springs from the uniou with the earth and arrives to the clouds of imagination in a pathway made by short scenes in which the visual component is very import and sets the ascendent  construction of the piece. I starts with braids that bound her to the land  imprisoning hher in a cage, from where she achieves to cut, scape and elevate herself. The aesthetic is clearly  indebted to the recent visit the choreographer just made to Japan, with figures htat pull the beauty out of ugliness. In the scene where Tragant imitates the attitude of a chiken, movement and music go hand by hand and it is a tender  part full of irony, and stays recorded forvever and geves a new touch on this subject."

Avui, Barbara Raubert
october 2004, Catalonia

"Olga Tragant premiered yesterday in her home city, Manresa, with Rastres, a short piece, intimist and simple in its gesture, which pleased the audience that filled Sala Ciutat. A successful premiere."

Regio 7, Jordi Serarols
november 2nd 2002, Manresa (Catalonia)

“Within the series Endansa there were several choreographies presented... among which the most interesting one because of the initial small plastic findings, is the work of Olga Tragant.”

El Pais, Pablo Ley
july 9th, Spain

“Olga Tragant or the surrealism In Sitges, and within the cicle Endansa, she will offer a small sample of her art, a solo of 20 minutes in which she will struggle with a toaster, slides of bread and an egg. The choreographer explains : “It’s a piece about the feeling of Desire. Tragant did not think that the audience reacted with a smile, but they did.”

El Periodico, Elena Hevia
july 4th 1999, Catalunya

“What do this three woman offer in Llaços? They present different facets in which their relationship goes through. Different sides common to everybody but more concretely to the feminine universe. A universe with moments of seduction, compassion or protection... of women-girls or adult women. A performance that melts one dreaming part with a more realistic part. With a dramaturgy less abstract than those in previous works.”

Regió 7, Mar Valldeoriola
mach 20th, Manresa (Catalonia)

Last year, Olga Tragant, in her character with the red coat, which reminded me of Anna Karerina, took out a bounch of coins from her underwear, as if it was a pocket. Money and sex are interlaced with a power symbol. Who has the power?

Movement Research journal 12, Annie Rachelle Lanzillotto
Summer 1996, New York

“ Plastic flowerpots big enough to conceal a woman loom in the dancing space and alongside the audience, costumes that veer from bag lady to vamp, that seem to essay some comment on cultural definitions of femaleness…There is an intelligence at work here.”

The Village Voice, Elizabeth Zimmer
july 18th 1995, New York

“Then came “The Chess Player” , with Tragant moving five instrumentalists around the “board” while her moves grew purposeful, slumped, desperate, twisting-in-the –wind and triumphant.”

The News Times, Frank Merkling
march 20th 1995, Connetticut, USA

"Olga Tragant col·laborated with the composer Chris Woltmann in The Chess Player, well-staged ensemble piece set to Mr Woltmann original score. The Chess Player was evocative of both the abstract positional complexities of chess and its psychological intensity. Ms. Tragant's experiments with movement was inspired but ultimately limited by the restrictions of the game board. Mr.Woltmann's score and the poise of the classical quintet onstage lent the work its authenticity."

Bluedance theater, Ron Gagnon
march 19th 1995, Connetticut, New York