Circe - Experimental Platform for Dance and Theatre and Israel Embassy in Georgia present:

Israel Dance Film Showcase 

Circe – Experimental Platform for Dance and Theatre and Israel Embassy in Georgia present:

Israel Dance Film Showcase 

Dates: 29,30 May

Hours: 16:00 – 21:00

address: Hotel Rooms

14, M.Kostava str.

29 May

16:00 (duration 30 minutes)

 

  • Big Hand, Little Hand – Choreography and Performance: Shlomit Fundaminsky

A woman sits upright. She waits. The air within her changes and shapes her wor

Her age, her home, her memories will fall apart and be rebuilt from a state of waiting.

Who is she waiting for and why?

Big Hand, Little Hand is a new solo by Shlomit Fundaminsky in which she examines time and movement in a body that is helpless, passive, and the body acts as a container of memories. She investigates the physical and mental state of waiting, and uses her own physicality as evidence of a story that was.

 

Choreography and Performance: Shlomit Fundaminsky

Music: Noam Helfer

Costume: Inbal Ben-Zaken

Lighting: Rotem Elroy

Rehearsal manager: Einat Ganz

Video Produced by: Suzanne Dellal Centre, Tel Aviv Dance and International Exposure 2020

 

 

 

16:45 (duration 1 hour)

 

  • One More Thing – Choreography: Adi Boutrous

 

 

In his new work, One More Thing, Adi Boutrous invites us to consider the value of the group and the individual within the group. Within a ritual that traverses both the contemporary and the traditional, four men experience a rite of passage based on empathy, common destiny, and deep listening. Through this they re-examine the relationship between masculinity and power, and the inherent potential support, intensity, and the desire for synchronicity.

 

Credits

Choreography: Adi Boutrous

Creating performers: Ariel Gelbart, Jeremy Alberge, Uri Dicker, Adi Boutrous

Rehearsal Director: May Zarhy

Lighting Design: Ofer Laufer

Costumes: Stav Struz

Soundtrack Design and Editing: Adi Boutrous

 

Supports

One More Thing is a co-production of Adi Boutrous, Théâtre de la Ville – Paris and fabrik Potsdam. The work is supported by The Foundation for Independent Creators founded by the Ministry of Culture and Sport and the residency

program at the Arab – Jewish community Center, Jaffa

 

 

18:00 (duration 1hour)

 

  • W A T E R F A L L S – Choreography: Nina Traub

 

Our body is part of the landscape in which it exists. Basic simple movement, absorbed in the movement of nature, creating weather, creating temperature.

We know how to be human and animalistic, to manage in solitude or in a pack, to be nature, to be landscape. To linger: To go and come back.

 

It is a specific world with density, time and color and can be observed with intensity and sensitivity, which are one. The inner need for precision, order and repetition for making sure and relief, creates a work, which is all about the longing to come out to the open, where there is wind. To dare embark on a journey and to not be afraid. To go on.

 

This work explores a body-landscape relationship. How the basic unassuming movement is so simple and assimilated to be creating nature, creating climate, radiating temperature.

The search for refuge, for rest, is omnipresent, and the goal this work seeks to achieve.

Through preoccupation with music and use of sound emerging from different sources, with different qualities, I search for the right tune for every moment. I investigate even and repetitive movement.

I’m engaged in movement with the quality of readiness and restraint yet moves between peaks- high and low tide. The work gives a broad view, and then closes into nuances, seeking to examine delicate fluid movement then looking for contra in strong, harsh, sometimes painful movements, seeking the middle ground. I use colors as the source, the origin. Color is surface, texture, emotion, mood. This project is black. two waterfalls made of black plastic material, falling from both sides of the back wall meeting center down stage, creating space between them. On stage three female dancers. their movement in relation to the falls will demand a certain composition, a specific one, to make them the landscape in which they are. It will be a glimpse into their lives, into the nature where they dwell, sing and cry. The dancers wear long smooth black wigs making them a group, one entity, a waterfall.

 

Choreography: Nina Traub

Dancers: Meshi Olinky, Carmel Ben Asher, Nina Traub

Stage and Costume design: Sia Preminger

Light design: Hanni Vard, Yair Vardi

Artistic guidance: Nava Frenkel

Rehearsal management: Maayan Horesh, Tamar Ben Israel

Production: Eiv Kristal, Lir Katz

Produced by Habait Theater, Tel Aviv-Jaffa

With financial support of Mifal Hapais and the Rabinovich Foundation for the Arts

 

 

 

19:15 (duration 40 minutes)

 

  • NOOR – by Tamar Borer and Tom Klein

 

NOOR  is a journey to seek a primal breath, and the essence of movement and sound within it. In the midst of a dark abyss, three disguised figures dance in an illusory world of hybrid creatures. They shed cover after cover, turning the skin of things inside out, gradually revealing their true nature. “Noor,” “light” in Arabic, is derived from “Dinur,” the river of fire depicted in the vision of the prophet Ezekiel, Book of Ezekiel. In 2020, a year that provokes anxiety and chaos, NOOR offers a reminder of the human need to elevate beyond fear, to carry and to care for each other. The full work consists of four parts, lasting about 45 minutes.

 

Choreography: Tamar Borer

Music: Tom Klein

Dancers: Tamar Borer, Yochai Ginton, Carmel Ben-Asher

Musicians: Tom Klein, Bar Eran, Nitai Levi

Stage Design: Tamar Borer

Lighting Design: Tamar Orr

Costume Design: Mali Aviv

Cinematographers: Ofir Ben-Shimon, Daniel Pakes

Video Editor: Tamar Borer, Tom Klein

 

The work is supported by the Office of Education and Culture, Mifal Hapais, and Tel Aviv Municipality.

 

 

20:00 (duration 1 hour)

 

  • Pigulim – Choreography: Ella Rothschild (duration 1 hour)

 

Pigulim was created in the first initial residency program of Suzanne Dellal Center. The process traveled to Lucerne and was developed with the Tanz Luzerner Theater and premiered there as well. Pigulim reveals stories within stories that rely on connections between the individuals in the show. The main characters are suffering from unbearable loneliness and battling their way between life and death. Each character is traveling through their materialistic being to their consciousness and holds a significant weight in each other’s worlds. The stories show the essential humanity of the characters and relate to the issues of life, existence, and the quest for happiness. In Pigulim, familiar objects symbolize misperceptions and reflect the misery of loneliness.

 

 

Choreography: Ella Rothschild

Performance: Ariel Freedman, Adi Zlatin, Keren Luria Pardes

‘Maslool – Professional Dance Program’ dancers: Noga Eliezer, Gilly Geva, Noa Gronich, Romy Duvdevani, Shani Zargari, Noam Hayoun, Noa Toledano, Omer Tichauer, Adam Ishay Eldar, Roni Morhalachmi, Lal’el Pillora, Yahav Sabag, Tal Cohen

Lighting Design: Ofer Laufer

Table and Art: Ofer Laufer

Costumes: Inbal Ben Zaken

Music: Gershon Waiserfirer

Dramaturgy: Tal Yahas

Photos: Efrat Mazor

Trailers: Roee Shalti

The ‘Maslool – Professional Dance Program’

Directors of the ‘Maslool’ – Naomi Perlov, Offir Dagan

 

Lucerne Theater:

Artistic director of “Dance Lucerne Theater”: Kathleen McNurney

Dramaturgy and production management: Sarah Brusis

Ballet master: Eva Zmeková

Performers: Olivia Blanch ,Dario Dinuzzi, Lisa Gareis, Mathilde Gilhet, Luigi Imperato, Phoebe Jewitt, Terra Kell, Carlos Kerr Jr., Valeria Marangelli, Igli Mezini, Mathew Prichard, Flavio Quisisana, Ilaria Rabagliati, Gabriele Rolle ,Giuliana Sollami, Andrea Thompson

Pigulim was developed in part during a residency at the Baryshnikov Arts Center, New York, NY

Pigulim was supported by 2019 Suzanne Dellal Center Artist Residency Program.

Supported by Asylum Arts.

30 May

17:00 (short films: duration hour and a half)

 

  • First things 1st

 

Imagine it.

A world where there is no distance between it and our knowledge of it.

How then to speak about it.

When the foundations of society are undermined, and spaces of existence are reduced.

Perhaps we are left to be entirely focused on tuning ourselves inward, as one tunes an instrument to achieve precision.

 

First things 1st is the first chapter out of five stances. In this iteration Getman uses words and peaks between what is being said and what is said between the lines. Matter, form, action, object and representation, commandment and request, nothingness and Nothing. Brick by brick, a personal attempt to touch the humane – a visible trap.

 

 

Michael (Misha) Getman is a choreographer and performer, born in Israel to Russian/Jewish parents Dora Karolin and Zachariah Getman. Throughout the years Michael has created many projects and choreographic works. His works have been presented in various festivals and venues. He examines and is curious about the relationship between our bodily actions, cognitive responses, subjective experiences, and the ability to respond to the ongoing demands of experience with a range of emotions. He has worked with and interpreted works by choreographers including Ohad Naharin, Amanda K. Miller, Marguerite Donlon, and William Forsythe. Michael expands his artistic search and research by collaborating with artists from the field of theatre, dance and the visual arts.

 

Choreography and Performance: Michael Getman

Dramaturge: Yael Venezia

Music: O-taiko by master Eitetsu Hayashi

Lighting Design: Yair Vardi

Video Director: Idan Herson

Post and After Effects: Idan Herson, Ofir Yudilevitch

Texts: Yael Venezia, Michael Getman

International Communications: Katherina Vasiliadis

The work is supported by Derida Dance Center, Bulgaria and Mifal HaPais Council for the Culture and Arts, Israel, The Suzanne Dellal Center, The Choreographers Association in Israel

 

 

  • It’s Pretty for You to LIE – Fantasy Game vol.1

 

What is the work that constitutes an anti-thesis of itself? In a physical-vocal trio for Claude Debussy’s “String Quartet”, the rock-pop of the Rolling Stones and the Celtic folk-rock of Led Zeppelin, the action of the slamming body in the shape of a woman embraces a theatrical mythological space, one that recalls the DNA that has been encoded in Dvir and the performers over the past three years of physical-vocal research. In this new incarnation, they choose to discover other abilities of their emerging performative psyche. They explore tensions between iconic psychedelic-rock and romantic classical sounds; femininity and animalism, the act of imagery and animation. Those tensions disintegrate and deconstruct from the everlasting familiarity of the choreography and the existence between pain and pleasure, the conscious and the id, the act of defamation and solidarity. They are bodies in a paradox, on a journey with knowledge and experience burned into their flesh, in the face of a new performative fantasy game.

 

Choreography, Text, Vocal & Soundtrack Design: Annabelle Dvir

Creative Performers: Layil Goren, Dana Naim Hafouta, Annabelle Dvir

Music: Claude Debussy “String Quartet in G Minor, Op.10, L.91: II”; The Rolling Stones “She’s a Rainbow”; Led Zeppelin “The Battle of Evermore”

Video Director & Editor: Annabelle Dvir

Cinematographer & Editor: Erez Schwarzbaum

Lighting Design: Noa Elran

Fantasy Chest: Noa Elran, Gili Godiano, Annabelle Dvir

 

  • Blue Zone

 

In Blue Zone, featuring an ensemble of 12 women non-dancers ages 65-80, Galit Liss explores the experience of aging through the body and movement. She presents a way of navigating the performative and public sphere – one that challenges the conventional dancer’s body and prevailing social and political perceptions. Her performers expose the collective biography inscribed on their bodies shaped by socio-national ideas and the Zionist ethos, and simultaneously unravel it, allowing space for Eros and the private body.

In Blue Zone, past meets present and collective ideology succumbs to private movements, raising questions about loyalty, identity, place, and home. Blue Zone premiered in the Israel Festival 2020.

 

Choreography: Galit Liss

Co-creator: Orit Gross

Creating performers: Ada Naggar, Halina Shamshins, Naomi Yahel, Nurit Limor, Orit Gross, Orna Schur, Sara Dagan, Smadar Carmon, Smadar Elad, Terry Kischinovsky, Vered Yatziv and Zipora Ram Fink

Dramaturgy: Nataly Zukerman

Music: Avi Belleli

Costumes: Maya Bash

Set: Iris Mualem

Lighting design: Rotem Elroy

Sound: Marco Tomasin Milevski, Voice guidance, Michal Oppenheim

Photographer: Eli Passi

Show manager: Noa Dar

International management and production: Alina Feldman

Video and editing: Oren Mansura

Video Mix: Marco Tomasin Milevski

Photos: Eli Passi, Liron Veizman

 

  • Inventory

 

While moving through a labyrinth and multi-layered space, composed of sets and requisites selected from works she made over the course of twenty years, Dar traces the evaporating contents she created. The wrappings that defined the spaces in which her choreographies once existed, are present as archaeological evidence to the performances’ vanished qualities, and raises questions regarding their validity. Inventory moves between periods, vantage points and sites in which these creations are present both in the personal and the collective memory. This chaotic and fragmented act, dictated by memory’s fragility and multi-faced nature, rely on the tangibility of physical objects to decompose this body of work and weave its components into a new narrative.

 

Choreography and Performance: Noa Dar

Musical Score and Sound Design: Elad Schneiderman

Space Design: Noa Nassie

Light: Noa Elran

Artistic Consultant and Rehearsal Manager: Yael Venezia

Costumes, sets and props design from Noa Dar’s works:  Moshik Yosifov, Atalia Ben-Menachem, Einat Nir, Avi Sechvi, Polina Adamov, Svetlana Berger, Michal Shamir, Nati Shamia Opher, and Michal Basad

Musical excerpts from Noa Dar’s Works:  Avi Belleli – Clouds and Soup 2005, Uri Frost – In a black black land 2003, Tetris 2006, Israel Bright – Biting peels 1997, The Tractor’s Revenge – Nothing But 1996, Karni Postel – Home 2001, Udi Kumeran (editor) – Achilles Tendon 1999, Strange 2000

Text excerpts and dancers telling memories:  Yosef El Dror, Iris Lana, Shelly Kling, Asaf Shatz, Nachshon Stein, Noa Rosenthal, Noa Shavit, Ilaya Shalit, Nir de Volff, Miki Bash, Irad Matzliah, Shlomit Fundminski, Mor Nardimon, Maya Brinner, Renana Raz, Noa Dar, Michal Mualem

Video Photographers: Ofir Ben Shimon, Daniel Pakes

Video Editor: Rotem Sudman

Photos: Tamar Lamm

 

 

  • Maramu vl.2

 

Maramu vl.2 is set in a future world where turmoil has passed and a dystopian reality becomes the new normal. Two abandoned entities share the mutual experience of finding their own humanity and discovering freedom in a grim reality. Humanity must learn there is far less control in their grasp, and how easy it is to become victims of circumstance. The work looks at how we adapt and the necessity of connection. Taking inspiration from the contrast and integration of human nature and artificial intelligence, Maramu vl.2 looks at an ultimately un-human world. A projection of an alternate reality with a glimpse into an intimate space.

 

Choreography and Performance: Rebecca Laufer and Mattheus van Rossum

Music: Mattheus van Rossum

Technical Producer: Dennis van Driel

Lighting and Costume Design: Rebecca Laufer and Mattheus van Rossum

Video Director: Davids Danos

Video Editor: Davids Danos and Rebecca Laufer

Photos: Ran Yehezkel, Ton Van Til

 

 

  • Body # 1

 

And so their limbs have merged into a solid unity, there were no more two creatures – but their doubled-nature, neither a woman nor a man, is neither this, nor that; but nevertheless, this and that it is.” Metamorphoses, Book IV by Ovid

 

 

Credits:

 

Choreography: Roni Chadash

Performers: Maya Schwartz and Ido Barak

Music: Nils Frahm, Patrick Watson, Sigur Rus

Light Design: Amir Castro

Costume Design: Reut Shiva

Video: Daniel Pakes

 

The work was supported by Suzanne Dellal Centre and by the Israeli Ministry of Culture.

 

  • Black Belt

 

In martial arts, the ‘black belt’ test signifies reaching the highest level of expertise and tactics. The last IDF operation in Gaza, in November 2019 was called ‘Black belt’.

 

It is the beginning of our path to understanding our power and abilities, and using them with awareness and respect. The purpose is not the final outcome but the way there.

The work is with yourself, at this moment.

It isn’t about winning or subjugating, but the acceptance of facing the other, out of the understanding they reflect me, and that ‘fight’ is really with myself.

Adama dance company is set in Sderot, a city near the Gaza border. The video was taken in an abandoned sulfur factory facing Gaza, a place where a corporation from both sides of the border used to happen, but now indicates the separation line. Vulnerability is an identifying mark, uncertainty, unfamiliarity, trauma, pain.

Maybe understanding that there is no physical separation, would allow a process of healing in each of us as individuals, as well as in the geographical and political space, which might allow us to be, and observe, breath and let go into the strength. First face the person I am, here and now. Learn my independence and strength, my ability to navigate out of alertness let go of the ilusion or dream, and observe reality with open and quiet eyes.

 

During the months preparing for conquering Gaza by the British army on November 1917 (after two failed attempts), sir Leonard Loid Williams, a geolog, mines engineer and British Intelligence officer, around Beery’s ravines, following the smell of sulfur coming from the ground, with the help of local Bedouins, tracked the sulfur deposits. When the war ended, returned Williams to the country and at the end of 1929 finished making geological surveys on the lands he leased from the Abu Mualik clan.

After he found out there are deposits with high sulfur concentration in those lands, he got a production concession from the british government of hundreds of dunams for 26 years (until 1966). In 1930 Williams established the ‘Palestine sulphur quarries ltd’, with the finance of 37,500 Israeli lira. 55% of the stocks were sold to the British, and 45% to Arabs – most of them from Gaza. In 1930 started the building and opening of the quarries. The equipment and machines were brought from Britain. The laborers were Bedouins and Gaza residents

 

Production: Adama Dance Center

Director: Liat Dror

Choreography: Liat Dror

Aerial acrobatics: Michal Arazi

Dancers: Itay Dalumi, Adi Gewurtz, Eirad Ben gal, Oren Roussou

Camera: Amichay Lavon

Editing: Eirad Ben gal

Screenplay: Liat Dror

Music: Itay Dalumi

 

Text from a lecture by Jiddu Krishnamurti « Why are you hurt »

 

18:30 (duration 1 hour, 18+)

 

  • No man’s land – Choreography: Maayan Cohen Marciano

 

 

 

In No man’s land, Maayan Cohen Marciano continues her work with the nude body. With collaborators Adi Shildan and Michal Samama, they use the nude body’s ability to be always present simultaneously within and between different territories. Using well-formulated movement mechanisms, their bodies break apart and reassemble, release and reclaim cultural and social contexts, and acquire new essences and meanings. They create a temporary autonomy in which they redefine the bodily, feminine, architectural, audial, and performative space.

 

 

Choreography: Maayan Cohen Marciano

Dancers and creators: Michal Samama, Adi Shildan

Artistic consultation: Ari Teperberg

The work was created in the residency program at Kelim Choreography Center, and supported by the Mifal Hapais council for culture and art.

 

 

20:00

YAG – The Movie

By Ohad Naharin

 

In Ohad Naharin’s YAG, Batsheva’s first production adapted especially for the screen, Naharin uses cinematic language to communicate his work both as director and choreographer. The disappearance of the stage, now replaced by the cinematic frame, creates a direct encounter with the dancers. Video artist Roee Shalti, who regularly films Batsheva, filmed and edited the piece with Naharin. The bare space, using the same lighting throughout, is the setting for refined movement. YAG was filmed during October 2020 at Batsheva’s Varda Studio, Suzanne Dellal Center, Tel Aviv.

 

“Love of dancing, longing, transformation of emotions into pure movement, dancers infusing content I have not written, refinement and exaggeration, family, touch, texture, flow, laughter at oneself, death, time, body, passion, imagination, fortune cookies, nudity, Hamutz-Hamutz, red, groove, control, pleasure, giving up.” (Ohad Naharin)

50 min.  The piece contains nudity

Directed by: Ohad Naharin | Cinematography by: Roee Shalti | Editing by: Roee Shalti and Ohad Naharin | Costumes: Eri Nakamura | Lighting Consultant: Avi Yona Bueno (Bambi) | Music: John Zorn, Gaetano Donizetti, John Taverner, Ennio Morricone, Ran Slavin | Text: Ohad Naharin

 

Performed by six Batsheva dancers, season 2020/2021:

Yael Ben Ezer, Sean Howe, Londiwe Khoza, Igor Ptashenchuk, Yoni (Yonatan) Simon, Hani Sirkis

Produced by Batsheva Dance Company, October 2020. Filmed in Varda Studio in memory of Varda Kenny, Suzanne Dellal Centre, Tel Aviv

 

 

The project is supported by Tbilisi City Hall.

Project partner: Insurance Company ARDI.