Performed at Suzanne Dellal, April 22, Godder maintains more than the usual dose of improvisational spirit.
By ORA BRAFMANSee Her Change dance 370(photo credit: Tamar Lamm)
Yasmeen Godder’s latest creation See Her Change maintains more than the usual dose of improvisational spirit, yet its spontaneity is polished meticulously, down to the smallest detail.Just as with her previous creations, See Her consists of complex layers of contradicting messages, often giving the sense of miniature puzzle with couple of pieces missing. You can put all the fragments together, but still never get the complete picture.The work – a co-production with Montpellier dance festival – is however a more intimate affair than most of her previous works. On stage there are Godder and two of her dancers/collaborators, Dalia Chaimsky and Shuli Enosh, both well versed in Godder’s own idiosyncratic gestures, to the point where they act as her reflection.But when Godder is on stage, her demanding presence overshadows the rest, regardless of the heroic effort made to produce three individual characters.Godder’s stage persona – performed by the three – alternates between strength and tense control; sensual, self absorbed, languid relaxation; or comic, happy-go-lucky phrases which shift in whip-lash flexions of muscles and fists.The change in See Her Change is in the details, not the technique, ambiguous ambience or unique phrasing. Godder’s theatric dances always lean on props, this time endless trouser changes and multi-colored curly wigs, hair pieces and quite a few hair fetish manifestations, accompanied by some clowning, moaning, mooning and exposure of body parts.It was yet another distinctive Godder creation, with stuck-out tongues, forcefully stretched lips, quirky positions and playful lust wrapped into an ongoing investigation of contradicting urges caught in a loop.
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