“In principle, there is Zoltán Balázs, the engine, or rather, the rolling mill of the Kravchenko project, its Stakhanovite. On the high rise chair, which is the pulpit and the dock at the same time, it is Kravchenko remembering, arguing, being ironic or sentimental, and flirting with the audience. The minimalist tools of the performance are fascinating: a chair with somewhat longer legs as there were always more equal among the equal in the pseudo-grayness of the Soviets; or the reading lamp with its light hurting the eyes that offers nightmarish associations."

Péter Konok (excerpt), 201