Dance Review: Bill, by Sharon Eyal

Batsheva Dance Company, Suzanne Dellal, May 11

By ORA BRAFMAN
May 13, 2010 02:45
1 minute read.
The Batsheva Dance Company performing Ohad Naharin

batsheva dance 311. (photo credit: Courtesy)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analysis from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later

Like her recent creations Bertolina and Makarova Kabisa, Sharon Eyal’s latest work, Bill, is carefully designed, with clear, straightforward overall sound and visual concept.

The three creations are strongly empowered by close collaboration with top light designer Avi Yona Bueno (Bambi), who provided the strongest visual effects of the evening, and musician Ori Lichtig, a renowned DJ and one of the founders of local techno scene. Eyal also gives credit as co-creator to her life partner Guy Bachar.

The stage is dominated by dancers clad in nude-color overalls, their faces and hair sponged with thick, uniform skin-tone makeup. With pulled-back hair and chignon on top, the female dancers look like cloned figures that match the synthesized aura produced by their male counterparts. The simple rhythms are persistent with strong, repetitive bit of techno (some may label it tech-house). This is one of the factors which detract from the attributes of the body language used by Eyal. Although rich and detailed, it carries a mechanical aftertaste, regardless of its virtuoso nature. Dancers are in constant motion, often with fragmented realignment. The motions are contorted, stretched, undulating and frayed – an impressive, yet sterile, repertoire.


There are twenty one Batsheva dancers on stage, often grouped in various compositions, but each is an island. They seem to be focused inwardly, acknowledging the presence of others for practical purposes only.

In the final 10 minutes, Eyal changes the tone to a romantic ode with a languid pop tune – “No, I don’t want to fall in love again.” And all of the Gaga adherents go gaga for love, forming heart shapes with hands, feet and fingers.

Join Jerusalem Post Premium Plus now for just $5 and upgrade your experience with an ads-free website and exclusive content. Click here>>

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys

By JTA