Hit Dominik Gac for Teatr Magazine.

(...) Not a single word is uttered in the performance, the meanings and themes result from the movement (the choreographer is Więcek), the costume (Weronika Wood) and the set design (Mateusz Mioduszewski), and from the place, the former gymnasium at the primary school at Emilia Plater Street, the building where currently Komuna is located. The default paneling, ladders and basketball boards - it's all still there. What about invisible? This is less important - paradoxically, because Glory Game is a story about visibility. About the narrative of cameras and special effects that shape it. About everything that we are used to treating as the nature of sports broadcasting. Glory Game, after all, is about sports. It is about body discipline and effort, but also about brutal competition - not so much for records and medals, but for attention. The competition on the stage arena is, in fact, just another success story. Its desire and costs - in this sense, the new performance is a development of the two previous ones, especially the debut, in which the artists looked at failure, dissatisfaction and unfulfillment, as well as the poisonous pressure that lies in artistic competition. But Glory Game can also be read as a question: is success possible at all, and if so, what does it really mean? The costume of this story is sporty, because the performers also have experience practicing various disciplines, training and taking part in competitions; but today they are more concerned with artistic hierarchies, which still strongly determine the art market. That's right - the market. He was the one they looked at in the two previous projects. By asking questions about the possibility of a breach in the rules of the game. I don't see this question in Glory Game, which I read pessimistically. There is no point in repeating it because the answer is known and unchanging. Just like the rules. (...)​

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Judge me Alicja Stachulska for Didaskalia Magazine

We become viewers not only of this sperfromance, but also television and sports viewers, and maybe even competition jurors. The stage situation refers to personal experiences, but in theater conditions, revealing or unmasking the audience may cause some discomfort. This unmasking takes place due to the literal nature of the relationship between the dancers and the audience. Put in the position of voyeurs, onlookers and observers, we are given a role where the boundaries and hierarchy seem clear - they show, we judge. However, this apparent impression is quickly blurred due to the position and presence of the performers. By exposing their bodies and deciding to perform the entire performance in slow motion, they force us to look - they make eye contact, sensuality is mixed with defiance, their gaze says "Rate me", but this does not take away the subjectivity of the dancers. They perfectly control the situation of exposing themselves and their bodies to the audience. They are the ones who deal the cards, literally dictating our pace.

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