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 שישי בצהריים, שעה 14:00. נכנסים לאולם של תיאטרון ענבל. האולם מלא עד אפס מקום. על הבמה פרוש קרטון גדול, שהופך בהדרגה למצע המרכזי של העבודה. בהתחלה הוא נראה כמו אדמה יציבה, אבל ככל שהמופע מתקדם הוא מתחיל לזוז, להיקרע, להשתנות ולהפוך למרחב חי שנרשמים עליו סימני הגוף. יש תנועהRead 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’s 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. 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
Popalinda in the Kingdom of Imagination is a dance-theater work for children, but first and foremost it is a work of the body. Adi Eytan as Popa and Shachar Dolinsky as Roberto, inspired by Mary Poppins and Bert (a wink also to the parents’ generation), create movement work that both children and adults can enjoy.Read more