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.
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.
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
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
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.
17:00 (short films: duration hour and a half)
- First things 1st
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
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
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.
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.