אילנה שרה קלייר בלסן- ארוחה ערוכה אישה יושבת מודטת בעיניים עצומות ליד שולחן עם מפה לבנה. ספוט של אור נופל עליה מתוך החשיכה. היא נמצאת כאן בנוכחות מלאה. מיישרת את המפה באיטיות, בתנועות חוזרות. שרה שיר עם בשפה זרה. אני מהמרת על גאורגית או פרסית. היא נפרסת על השולחן כמו מנה ראשונה. מהפנטת בתנועות פתייניותRead more
מאיה מזמינה אותנו לעצום עיניים ולספור עד חמש, וכשפתחנו אותן, גילינו אוהל צבעוני מהלך על הבמה.
האמא כל הזמן מכניסה אותם בחזרה לאוהל, כמו מכנסת אותם אל חיקה. חיק האמא האוהבת והשומרת
עליהם מכל רע. מה שכל אמא רוצה לילדיה. לאהוב ולהגן.Read more
Recently, while discussing the concept for a new piece with a colleague, she urged me not to give up on the physicality of the work. “You can say so much of what you want to say in text, but I want to see you trying to say it through movement, too,” she said.
It occurred to me that this is a good challenge to apply to my parenting and that the text/movement balance exists in my parenting as much as it does in my choreographic work.Read more
In live performance, every show is different. Every body is in a slightly different configuration each day, each person is in a unique mood during the show and there are all of the outside stimuli and conditions that influence the way things feel. A cold day can lead to a stiff performance and a sweltering day can garner a droopy one. Because dance is a form resting on the living body, not machines, it has to be infinitely flexible. It has to consider that no two days are the same and, as such, no two shows can be identical. What works one day won’t work the next.Read more
Our children enter the world to upstage us. Their youth marks the waning of our own, their innocence points to the disappearance of our own. The freshness of a baby is entrancing, and it works as a tonic on most adults around. We can so easily forget ourselves when faced with our children.Read more
After a thought-provoking collaboration with Project 48, CW will pair up with the Curtain Up Festival. Two members of the CW circle will attend each of the four “curtains” and will publish their response here. More to come soon! 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
I realize that it’s going to be a very interesting evening
The lights are out and I am waiting excitedly to see
What the Project 48 people have concocted for us