…each choreographer speaks a distinct language. We often call this “movement language,” but it extends beyond steps to every choice a work contains: dancers, music, costumes, composition, props, design. Together, these elements form a syntax, a way of speaking.
And while in life I have only one mother, in dance I have had many mothers and fathers. These are the artists whose work shaped my understanding of what the stage is and what a performative act can hold. The ones who influenced how I “speak” today were those who allowed me to walk through their creative worlds, absorbing fragments of vocabulary along the way.Read more
Popalinda in the Kingdom of Imagination is a dance-theater work for children, but first and foremost it is a work of the body. Adi Eytan as Popa and Shachar Dolinsky as Roberto, inspired by Mary Poppins and Bert (a wink also to the parents’ generation), create movement work that both children and adults can enjoy.Read more
Each costume piece removed reveals not only Sirkis’ body but a transformation. A new character. A reference. A provocation. A version of how a body might be read.
She is not undressing.
She is multiplying.Read more
It is a physical theatre piece rich in imagery, with precise and flawlessly crafted scenography, and dramaturgy that sustains attention throughout. We encounter many characters, among them the problematic student in a fitness group who understands the exercise only once it is over, the sturdy weightlifter who surprises at the crucial moment, the samurai who stops time and crumbles bricks into particles, and the pole vaulter who manages to jump high, though it requires massive teamwork. The actors’ ability to precisely execute failure turns the performance into a continuous experience of laughter. Adults burst out laughing, children were giggling non-stop.Read more