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
*צילום אופיר בן שמעון כבר קרוב לארבע שנים אני רוצה ומנסה לראות את ההופעה של סתיו ומירב, עוד מאז הבכורה שהוצגה בהרמת מסך אי שם בשנת 2021 כשהייתי אמא טרייה לתינוקת יונקת. רכשתי כרטיס מבעוד מועד, וברגע האחרון היורשת לא הצליחה לנתק ממני את חבל הטבור, ואני לא הצלחתי לצאת להופעה. לסתיו ומירב ישRead more
We won’t ever know the real effect of walking in and out of this war but in the film Puppet Party, Galina uses his many talents to convey the fractured pieces of himself unraveling and being unraveled. Read more
Maybe the real question the piece is asking isn’t “If there were no war, what kind of dance would happen?” (as the program states), but rather: How can one keep dancing in the middle of a war? How can we dance not about the war, not for it, not in service of it, not in protest of it, but also not with our eyes closed to it? Is it possible to continue making good dance theater, while still being self aware of what’s happening around us? Should we? And what about creators who don’t want to engage directly with the war, what is their place right now, in this heartbroken moment of sand and stone?Read more
This is a very different story than the ones we know, but perhaps it’s the only one that dares to get close to the truth. A story that places primordial emotion center stage, and the yearning to draw near to it, where even failure becomes a kind of success. I leave the performance moved by a work of art that continues, with devotion and faith, to try to return to the beginning of things. Read more
A gold piece of aluminum-plastic like material meanders playfully into the performance space. The kids in the audience, including my munchkins, are fully engaged with this mysterious entity as it makes its magical entrance. Hidden within the globule of gold are the wonderful dancers Noa Chen and Dikla Rejevsky. Noa emerges first with wondrous elasticity and fluid movements.Read more
Maya Brinner’s beautiful piece, ‘Home Work,’ embodies every sense of this learning curve while weaving motherhood into the tapestry seamlessly. We learn to dance by dancing. We learn to mother by mothering. We’re all in this delicious state of learning.Read more
If nothing else, Fusion proved that Gorfung’s prognosis is the last in a long list of things that make him special.Read more
The word I take with me from Crescendo Gold, Annabelle Dvir’s work that I saw at Habait Theater, is: power. If I had to summarize the performance in one sentence, I’d describe it as a ritual of a tribe of warrior women, wolves, demons, witches.Read more
This is a dance performance for children that is exactly what it should be: simple, beautiful, and intelligent. It is a show that treats children as the intelligent beings they are, and does not compromise on high standards of movement and material.Read more