ืจืฉืžื™ื ืฉืœ ื™ื•ืœื™ื” ืคืจื™ื™ื“ื™ืŸ ืžืฉืชื™ ื™ืฆื™ืจื•ืช ืžืืช ืื•ืจื™ ืœื ืงื™ื ืกืงื™

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a dance piece ื”ื”ื•ืคืขื” ืฉืœ ืื•ืจื™ ืœื ื”ืชื—ื™ืœื” ืขื ื”ืžื ื˜ืจื” ื”ืจื’ื™ืœื” ื›ื™ืื” ืœืชืงื•ืคื”: “ื‘ืžืงืจื” ืฉืœ ืื–ืขืงื”, ื ืœืš ืœืžืจื—ื‘ ืžื•ื’ืŸ”.ย  ื™ื“ืขืชื™ ืฉืฆืคื•ื™ื•ืช ืœื”ื™ื•ืช ืฉืชื™ ื”ื•ืคืขื•ืช, ื•ืงื™ื•ื•ื™ืชื™ ืฉื ืชื—ื™ืœ ืžื”ื”ื•ืคืขื” ืฉืœ ืื•ืจื™.ย  ืื•ืจื™ ืœื•ืงื—ืช ื ืฉื™ืžื” ืขืžื•ืงื”, ื•ืžืชื—ื™ืœื” ืœื”ืจื™ื ื™ื“ื™ื™ื ื•ืคื•ืจืกืช ืื•ืชืŸ ืœืฆื“ื“ื™ื, ื•ืื– ืžื‘ืฆืขืช ืคื™ืชื•ืœ ืขื ื”ื’ื•ืฃ.ย  ื“ืจืš ืชื ื•ืขื•ืช ื’ื•ืคื” ืื•ืจื™ ืžื–ืžื™ื ื” ืœื‘ืžื” ืืช ื”ืื™ืžื”ื•ืช ื”ืงื“ื•ืžื•ืช ืฉืœ ื”ืžื—ื•ืœRead more

ืจืฉืžื™ื ืฉืœ ื’ืณื ื™ ื‘ื™ืจื’ืจ ื‘ืขืงื‘ื•ืช ืฆืคื™ื™ื” ื‘”ื—ืฉื•ืฃ ื‘ืกื˜ื•ื“ื™ื•” โ€“ ืขืจื‘ ืžืฉื•ืชืฃ ืฉืœ ื ื™ืจ ื•ื™ื“ืŸ ื•ืชืžืจ ืกื•ืคื™ื” ืงื™ืฉ

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My eyes delight in the soft rawness of a piece shown in its home, without the wrapping of a large, sophisticated production. The scarcity of means allows other qualities to surface and to touch the audience in a more intimate and direct way. โ€œExposed in the Studioโ€ is a wonderful example of an evening featuring two very different works that speak to one another and connect beautifully: โ€œAssembly Instructionsโ€ by Nir Vidan, and โ€œThe Silence of the Sirensโ€ by Tamar Sofia Kisch.
Itโ€™s an intriguing, rich evening that operates on all senses and reveals a broad range of contemporary dance creation through two solos, choreographed and performed by the artists themselves.Read more