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
The performance presents the desire to be the chosen one of the public. Each and every one has a set time on stage during which they must convince us to choose them. They use every means at their disposal: virtuoso technique, unique movement, an individual personal story meant to stir our compassion and empathy. When necessary, they stand on a tall pedestal so that we can see and hear them better.
They want us to follow them. Their movement hypnotizes us into becoming captivated by them.Read more
*צילום אלה ברק מאת ג’וי ברנרד “אבא אני כובשת איפה אתה מתאבך עכשיו וכמה אנשים שאני אוהבת בעצם איפה הם מתאבכים עכשיו” עם המילים הללו, חפות מסימני פיסוק, פתחה המשוררת האלמותית יונה וולך את הפרגמנט החמישי במחזור “כמה עניינים”, שראה אור ב”דברים”, ספרה הראשון שהתפרסם בשנת 1966. זהו השיר היחיד שבו וולך פונה ישירות אלRead more
The worlds oscillate between the tangible and the abstract, as Ayala employs a variety of materials and textures. Naya’s persona shifts as well, both through the costumes and accessories she adopts in each world, and through her movement choices, which range from the one end of classical flamenco to the other end of contemporary dance.Read more
Noa is an exceptional performer, fully present in what she does. It’s impossible to tell whether what we’re seeing is choreographed, improvised, or both simultaneously. There is a strong sense of responsibility for the moment, for the present, for the body.Read more
For a self proclaimed selfish bastard, Hamilton is one of the most gracious and generous people I have ever seen on stage.Read more
‘Life in Lyrca’ is all very funny but also thought-provoking, raising questions about the power dynamic between the creator and the audience. How much power does he have to instruct us on how to watch, what to think, how to understand and interpret, and when to applaud?
The work ‘Paradise’ by Matan Cohen deals with the harsh truth of life in our country.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
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
Waiting Places by Bobbi Jene Smith and Or Schraiber is unarguably beautiful. Its beauty shines like a dew drop rolling from a rosebud, or the reflection of soft sunrise’s rays glimmering on the sea. Highly skilled and expressive dancers perform exquisite choreography, screened in black and white. The women’s long hair and dresses move along their athletic bodies, the men’s heels mark the fast tempo of the passing of time. The craftsmanship of everyone involved: the dancers, the choreographers, the camera and editing, and of course the music, is impressive and inspiring. I’m still left waiting, though, for something else. Something that perhaps was never intended to be part of this particular piece, yet without it the work feels incomplete. Read more