24 of August
"Am I" Dancer: Talia Paz
A short and personal creation for the Dancer Talia Paz. The dance movements are all part of Talia Paz’s personal movement material she embodied and performed in the last 20 years. Various forms of expression stretched from Ohad Naharin to Matz Ek’s significant style, from Stijn Celis to Sharon Eyal’s extreme body language, are being re-visited and examined by Talia Paz. Deconstructing the text of the famous tune from the chorus line ‘Let Me Dance For You‘ into fragments of words and breathes, allows Talia to reformulate her artistic presence and skills.
Straddling the line between personal physicality to spoken text and the uncertain relations evolving on stage between these, triggers Talia Paz to challenge her current physical and emotional state. A paradoxical landscape is created, shifting between the tragic and the comic, between the gaze and the
hearing, between the said and the done and between the body’s desire to master the craft and to lose power and form.
“Talia Paz is a wonderful example of a mature dancer who is completely aware of her body, her age, her physical abilities and their limitations. Choreographer, Michael Getman, crafted especially for her, an intelligent solo piece that tells the story of a character, a dancer who crossed the red line - thatn is, the age of 45. on stage she offers moments from her daily routine in which the body is aware of its pains and strains - before it warms up. Every movement of the joints and limbs is a battle against rigidity and resistance of the muscles, tendons and the skeleton as a whole. As a dancer, she knows, that her body needs to be systematically and consistently appeased and indulged until it tempers. Getman used a lot of Talia Paz’s personal idiosyncratic expressions and exaggerates them. He encourage her to breath loudly, and moan. As time goes by, she repeats the same phrases and fragmented movements that she dealt with, in various ways over and over. We witness how the movement itself is improving, the body slowly defrosts, while her moans had long assumed their right to shout. A self- flagellation of sorts.
Getman, and Talia Paz under his guidance, are well aware of the two parallel channels: The movement enhancement and in parallel, the increasing level of complaints, expressed in many different shades of “krechtz” (the Yiddish word for fuss or grunt in pain), as a protest against the price she has to pay.
In the midst of conflicting emotions and entangled level of coping, Talia’s image does not forget what all this suffering is for. She raises her head and assumes a proud position while she announces :
I AM A DANCER
Yes Talia, you are a dancer. Hell yeah!!”
Ora Brafman –Dancetalk
"This tragicomical solo dealing with the psycho and physiological identity of a dancer. And she was simply fantastic." Petra Dotlacilova - Tanecniaktuality.
"A sober and sobering dance, which incorporates a rare self-consciousness, a wonderful talent and a healthy humour.” Merav Yudilovitch.
"Face to Face"
Michael Getman's Face to Face is performed to a broken soundtrack of Beethoven's piano sonata and a political text of the well known composer Herold Rubin. Using a very personal performance language and together with the creative dancer Eldad Ben-Sasson, they have created a most subtle though sometimes violent choreographic study of the question of intimacy within a conflict. Through a private prism of ideas, with the desire to be moved and be charged by it, with references to political events, Michael responds to the tension and relationship between art and war, between sounds and images, between love and hate, between Cain and Abel or ambiguous relationships. Taking into consideration the cultural and personal experience to the notion "war within", a complex and humorous journey evolves on stage dealing with different understandings of who is a victim? Where does one draw the line between individuals? How close can we be to the other? What do we ask of the other? And if the other is our very near Brother!? The desire to fall in love? to lose control? to be transformed and taken by passion? or to control?! These questions are explored through bold physicality and bizarre war imagery, which give a new twist to stereotypes of two male archetype in conflict, and the roles they play within relationships.
Premiered at the Holland Dance Festival, Korzo Theatre 2012.
25 of August
Sol Dance Company
"Sale" by Eyal Dadon
Heat and cold, body and soul, games and rules, sale and consumption.
The piece teasing everything that is a challenge, challenges in life, with society, with games and rules, with Capitalism and with the results of our actions.
Sol Dance Company was founded in the ancient Old City of Be’er Sheva in 2016.
The ensemble is comprised of six dynamic and unique dancers who enable for a specific artistic creation allowing for deep movement introspection, reaching audiences in an intimate and honest manner.
"Dadon – and we have seen it in the past – has a unique way of weaving his sophisticated and highly detailed dance sequences with occasional subtle humor, bordering on the wild side, without shoving it crudely in your face" Ora Brafman, The Jersualem Post, Israel
"A piece which not only immitates reality, it is also gives a new value to power, Brilliant" Anat Zcharia, Ynet Israel
"A spontaneous piece, well planned by the master of serving - Dadon, and his fenomenal dancers - hits us hard!" Anat Zcharia, Ynet Israel
Tickets: 35/25/20 PLN
In cooperation with