A visit. An attempt to trap the thoughts that ran through my mind as I watched or came up after- not necessarily about the works rather through them… Because dance has this Rorschachian power to touch already-exposed nerves.Read more
In both works I saw young choreographers who had found an experienced dancer/collaborator to share the creative process and journey with fully. That is a precious gift in my opinion.
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Yulia Frydin’s poetic response to Curtain 4: Sahar Damoni’s Pirgi’in, Shira Eviatar’s Rising and Asaf Aharonson’s What’s to Come.Read more
Samama, wilderness, lake, horror, death, memorial, stones on a grave, soldiers, uniforms, red, hammer, to hit, to strike, nail, chilling, hurtful, the pelvis, side to side, flipping, unclear…Read more
Relation is political
To ignore is political
The symmetry is political
The unison is politicalRead more
Fainting, edginess, heaviness of the abdomen, muscular contractions and shortness of breath- these are just a few of the symptoms associated with the disorder “Female Hysteria”, as it was known in the middle of the 19th century. Read more
I enter the Suzanne Dellal Hall and experience a flashback
To the end of the year celebration of 8th grade, on the theme of “100 years of Zionism”
Somewhere, in the Dora community center, in Netanya City.Read more
If Bauhaus was a failure, what’s so great about success?Read more
Why do we always want the performance to go to the edge? Why do we ask a woman who has just informed us she is pregnant to jump off a plastic chair in order to reach the ceiling? Why is “explode” the first thing we ask of the clearly angry performer? Why does control always lead to some kind of humiliation or abuse?Read more
I wonder- is it even possible to have an uncivilized conversation in this situation? Is the participation of the audience in this show a choreographic manipulation meant to distract the viewer or is it a build up to the directed, “uncivilized” conversation that follows? Read more