Dance Review: International Exposure

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

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

dance review 88. (photo credit: )


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


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.

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