An original, piercing, intelligent work of dance theatre.Read more
The entire performance feels like an ongoing investigation, almost childlike in its curiosity.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
*English follows *Photos by Asya Skorik 砖讬砖讬 讘爪讛专讬讬诐, 砖注讛 14:00. 谞讻谞住讬诐 诇讗讜诇诐 砖诇 转讬讗讟专讜谉 注谞讘诇. 讛讗讜诇诐 诪诇讗 注讚 讗驻住 诪拽讜诐. 注诇 讛讘诪讛 驻专讜砖 拽专讟讜谉 讙讚讜诇, 砖讛讜驻讱 讘讛讚专讙讛 诇诪爪注 讛诪专讻讝讬 砖诇 讛注讘讜讚讛. 讘讛转讞诇讛 讛讜讗 谞专讗讛 讻诪讜 讗讚诪讛 讬爪讬讘讛, 讗讘诇 讻讻诇 砖讛诪讜驻注 诪转拽讚诐 讛讜讗 诪转讞讬诇 诇讝讜讝, 诇讛讬拽专注, 诇讛砖转谞讜转 讜诇讛驻讜讱 诇诪专讞讘 讞讬 砖谞专砖诪讬诐 注诇讬讜 住讬诪谞讬 讛讙讜祝. 讬砖 转谞讜注讛Read more
It holds a genuine surprise, one that is powerful, celebratory, and left me exhilarated for hours afterward.Read more
PATROL creates a fantastical world, superhuman, deeply physical, mysterious, and breathtakingly beautiful.Read more
The work opens questions about the relationship between movement and education, education and ideology.Read more
If you have ever seen a show at Tmuna Theater, chances are you have seen Matan Preminger鈥檚 work. As one of the most prominent lighting designers in the theater/dance/performance world, Matan has been illuminating stages for over a decade. Comfortable both behind the scenes and on stage, Preminger can be found most nights in the control booth of one of many theaters he works in, most often Tmuna. Beyond his role as an actor, lighting technician and designer, Preminger has created three staged works that brought the often-invisible world of lighting technicians and designers into the center of the stage.聽Read more
I’m about to use a word that parenting experts tend to hate: Etai’s Castle is simply… fun. Fun in the very best, most classic sense of the word. Like strawberry ice cream with sprinkles on a summer day.Read more
The pace of the work is relentless, transitioning from one rhythm to another, one pattern to the next, one dancer leading switched out for another. The dancers show no signs of listening for cues. Instead, they appear telepathically connected, pivoting and exchanging material with uncanny precision. Improvisational impulses are woven into a tightly organized, ever-shifting and unpredictable structure.Read more