INBAL PINTO & AVSHALOM POLLAK DANCE COMPANY
SLUG
I approached an unknown person in the audience, after the show, and asked:
‘Would you like to share with me what you remember from the representation of SLUG, the performance we saw tonight?’
Y.B. replied:
‘3 white dresses, 5 white shirts, 5 pair of black trousers, nearly 200 light bulbs hanging, different languages spoken, eight performers.
I will remember the moment when a blonde dancer with braid, a dark one with the bun and the oldest performer danced together.
The dance evoked images that I associate with the relationships between members of a family who belong to different generations. I imagined how the complicity and the clashes between people of different ages persist beyond the boundaries of time and cultures in all families, and how humanity experiences the different roles, joys and frustrations, success and failures, whilst aging.’
A short interview with Cordelia Lange, performer and co-creator in SLUG, conducted after the show at Dallal Cafè.
RC: Would you like to share three of the words that were often used by the choreographer Avshalom Pollak in the creative process of SLUG?
CL: TIME– time is a word that was cited as a constant factor in the creative process.
TEXTURE – in the creative process we were invited to improvise and generate artistic material. When we approached the definition of the choreographic partiture, we had to find the texture that would somehow bring the essence of the physical and physiological experience of the original improvisation into the final and replicable composition.
MAGIC – we were invited to keep the magic and not to reveal the tricks which lie beneath the scenes.
RC: What is SLUG for you?
CL: SLUG is an invitation to observe and see through a microscope, allowing the viewer to choose if what is seen is a single cell or the magnification of a cell.
RC: What challenged you in this creative process?
CL: The use of the voice, speaking a text or singing whilst moving and performing, was one of the big challenges of this creation.
RONIT ZIV
THREE SISTERS- Contact and Separation – In the footsteps of a short story by Shay Agnon
I approached a person in the audience, after the show, and asked:
‘Would you like to share with me what you remember from the presentation of Ronit Ziv tonight?’
A.L. replied: ‘I remember a very detailed dance, performed by three dancers often in unisons, a small house that changed color, a soundtrack from a film, red paint on the white floor and on the skin of the performers, a sad story with dark humor’.
International Exposure took place at the Suzanne Dellal Center as well as Warehouse 2, Studio Varda and Inbal Dance Theater on December 7-11, 2016.
ROBERTO CASAROTTO 
Since 2006, Roberto has been director of the dance projects for the Centro per la Scena Contemporanea di Bassano del Grappa (CSC) and Operaestate Festival Veneto. Associate director of Aerowaves, he is a member of the board of EDN European Dancehouse Network.
Currently involved in several international projects supported by the EU Creative Europe and Erasmus + Programmes, he develops initiatives aimed at supporting the artistic research, mobility and artists’ development in the field of dance, the engagement of communities and participation of citizens in cultural activities.
He is the initiator of Dance Well – Movement research for Parkinson, a project aimed at introducing and researching the practice of dance for people living with Parkinson’s. Before entering the dance organisations, Roberto was a professional contemporary dancer. He is the author of the book Nigel Charnock published in 2009 by L’Epos, in the Dance forward/Dance for word series.
Since January 2015 he has been appointed Artistic Director of Balletto di Roma.
