Dance Review: International Exposure

The dance platform of International Exposure was a good opportunity to catch up on recent works.

By ORA BRAFMAN
January 27, 2009 13:35
1 minute read.
dance 88

dance review 88. (photo credit: )

 
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International Exposure Suzanne Dellal January 21 The dance platform of International Exposure was a good opportunity to catch up on recent works. Bloody Disco by Yossi Berg and Oded Graff is a dark tale of two couples desperate to connect but who make all the wrong emotional moves. At each juncture, they fall into the same behavioral traps and have to start searching all over. The metaphoric entanglements of the four dancers resonated in their physical encounters. In the end, the sparse vocabulary, the repetitions and the banality of the basic situation felt like raw material that still needed work. Riversi is a product of collaboration between two independent choreographers: Sahar Azimi and Odelya Kuperberg. It has a tight structure and careful placement that turns space - and the attention it gets in the work - into an important component. This intense creation holds a layer of concealed rage and defiance that enjoys precise and detailed work by all participants. Later, on the stage of the Inbal, Renana Raz and Ofer Amram, supported by original music by Rali Margalit, introduced Ov, a theatrical dance inspired by the S. Ansky play The Dybbuk, the signature piece of Habimah's earlier years. Raz, a contemporary choreographer of many talents, created with Amram a sensitive study using the most basic of stage means, leading us into the profound spiritual world of the kabbalistic mystic. They bring to the play two complex characters who enact both the profane and the sacred in the marriage of souls doomed never to be truly united. Raz, with her strong gentleness and Amram, with his solid frame, go through a series of transformations that turns Ov into a movement-based theatrical whirlpool that sweeps you off your feet.

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