An original, piercing, intelligent work of dance theatre.Read more
Bellahsen presented a female body that refused easy access: it concealed itself beneath shrouds, hid behind dark sunglasses, disappeared beneath grey bodysuits and repeatedly obscured itself with black and white liquids. This was a body that chose to make itself visible while resisting complete legibility. Read more
In this work, Dar demonstrates that good dance may turn its head backward, like Orpheus, but above all it surrenders itself to the present in every lifting of a dancer’s leg and every tossing of her head. It recognizes that “the pure present is the invisible progress of the past gnawing into the future. The truth is that every sensation is already memory,” as philosopher Henri Bergson wrote.Read more
Throughout the work, the four performers repeatedly toy with the idea of transmuting thoughts into language; of expressing dance with words and vice versa; of making their inner and private dialects not only heard but understood by others — be it a dancer interpreting the choreographer’s score, a dancer reacting to a fellow dancer on stage or a dancer communicating her sensations and thoughts with the audience through words or movements.
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…it seemed that together, the four embodied in their bodies and movements the nomadic, hybrid spirit so characteristic of flamenco’s history. This was precisely because the four insisted on integrating — alongside typical Spanish gestures and sounds —movement languages and imagery external to flamenco, whether through the use of Hebrew, plastic objects, or references to modern dance.Read more
It is clear to me even from this opening image that this time Godder is not inviting us to a party, as in “Shout Aloud,” her company’s previous show created in collaboration with the singer Dikla, which was a showcase of explosive and sensual feminine energy. Nor is she withdrawing inward with the same fragility that characterized “Practicing Empathy 3.” No, this time Godder is leading us through the gates of the underworld, deep into a universe of feminine lamentation and illusion.Read more
When Teperberg shares with us the sound of the grating pipes in the first part of Holst’s work, “Mars: Bringer of War,” he makes us wonder what war actually sounds like. Moreover, he makes us try to measure how far away or close we actually are to the battlefield, both mentally and physically.Read more
Sirkis, ever the dominating seductress, began to shed the layers of her outfit, remaining exposed in her undergarments. This wasn’t the titillating part. What was so thrilling was the fact that here she truly began to physically express herself as the skilled contemporary dancer that she is, bringing to life on stage her own signature and unparalleled mix of drag performance and dance.Read more
Mochiach chose to dedicate her current work to research about the inner world of women, which has been disturbed throughout the war. Only two years back it would never have occurred to me that older women, some my mother’s age and others my grandmother’s age had she been alive, would have to dream that they’re in the Holocaust and must seek refuge, as one of the older performers shared that she’s been dreaming (in a theatrical setting that was perhaps way too literal, when a dream about hiding in a drawer who presented to us by a performer who hid in a huge drawer). I guess our reality is stranger than fiction.Read more
I think of Boutrous’s wheat field as a particular site of memory, an object that is like the gun that appears in the first act to remind both the performer and ourselves of the place we come from.Read more