Sirkis, ever the dominating seductress, began to shed the layers of her outfit, remaining exposed in her undergarments. This wasnโt the titillating part. What was so thrilling was the fact that here she truly began to physically express herself as the skilled contemporary dancer that she is, bringing to life on stage her own signature and unparalleled mix of drag performance and dance.Read more
The performance presents the desire to be the chosen one of the public. Each and every one has a set time on stage during which they must convince us to choose them. They use every means at their disposal: virtuoso technique, unique movement, an individual personal story meant to stir our compassion and empathy. When necessary, they stand on a tall pedestal so that we can see and hear them better.
They want us to follow them. Their movement hypnotizes us into becoming captivated by them.Read more
*ืฆืืืื ืืื ืืจืง ืืืช ื’ืื ืืจื ืจื “ืืื ืื ื ืืืืฉืช ืืืคื ืืชื ืืชืืื ืขืืฉืื ืืืื ืื ืฉืื ืฉืื ื ืืืืืช ืืขืฆื ืืืคื ืื ืืชืืืืื ืขืืฉืื” ืขื ืืืืืื ืืืื, ืืคืืช ืืกืืื ื ืคืืกืืง, ืคืชืื ืืืฉืืจืจืช ืืืืืืชืืช ืืื ื ืืืื ืืช ืืคืจืืื ื ืืืืืฉื ืืืืืืจ “ืืื ืขื ืืื ืื”, ืฉืจืื ืืืจ ื”ืืืจืื”, ืกืคืจื ืืจืืฉืื ืฉืืชืคืจืกื ืืฉื ืช 1966. ืืื ืืฉืืจ ืืืืื ืฉืื ืืืื ืคืื ื ืืฉืืจืืช ืืRead more
The worlds oscillate between the tangible and the abstract, as Ayala employs a variety of materials and textures. Nayaโs persona shifts as well, both through the costumes and accessories she adopts in each world, and through her movement choices, which range from the one end of classical flamenco to the other end of contemporary dance.Read more
Noa is an exceptional performer, fully present in what she does. Itโs impossible to tell whether what weโre seeing is choreographed, improvised, or both simultaneously. There is a strong sense of responsibility for the moment, for the present, for the body.Read more
For a self proclaimed selfish bastard, Hamilton is one of the most gracious and generous people I have ever seen on stage.Read more
‘Life in Lyrca’ is all very funny but also thought-provoking, raising questions about the power dynamic between the creator and the audience. How much power does he have to instruct us on how to watch, what to think, how to understand and interpret, and when to applaud?
The work ‘Paradise’ by Matan Cohen deals with the harsh truth of life in our country.Read more
Mochiach chose to dedicate her current work to research about the inner world of women, which has been disturbed throughout the war. Only two years back it would never have occurred to me that older women, some my motherโs age and others my grandmotherโs age had she been alive, would have to dream that theyโre in the Holocaust and must seek refuge, as one of the older performers shared that sheโs been dreaming (in a theatrical setting that was perhaps way too literal, when a dream about hiding in a drawer who presented to us by a performer who hid in a huge drawer). I guess our reality is stranger than fiction.Read more
Thereโs something fairy tale-like about the Suzanne Dellal Center complex, even just arriving at the courtyard or the well next to Inbal Dance Theater feels like stepping into a princess’s palace. Being there, even for a moment, feels like a bubble separate from the city. And with all the support of 1|2|3, every princess immediately levels up to a queen.
So I went to take a peek at the next generation of dance royalty.Read more
I think of Boutrousโs wheat field as a particular site of memory, an object that is like the gun that appears in the first act to remind both the performer and ourselves of the place we come from.Read more