Suzanne Dellal, August 21Introducing their new company, Or Marin and Oren Nahum brought a wave of fresh air to the local dance scene with their humor, imagination, craftsmanship and talent.The evening, which contained four pieces, opened with Vanishing Point, performed by Or and Stav Marin. The two, tied to cables, devised an abstract dance that dealt purely with moving bodies in space and their kinetic and corporeal relationships.There was much grace in their close contact style and interesting linear dialogue of limbs.Origami, the second piece, was the weakest link that evening. It was performed by three dancers who swam in a deep pile of tissue paper, fighting strong currents of air produced by an industrial fan. The music, costumes and stage design were highly impressive, but the compositional content and conceptual aspiration were not on par and seemed to get secondary attention.While the stage was being laboriously cleared, six girls started singing sweetly. As it became evident that they were seated among the crowd, everybody got busy trying to spot them. I can’t recall a more pleasant intermission.The following piece was a video-dance called Sweet and Sour Waltz. Created by Or Marin and Lior Avizur, it had a captivating soundtrack and a Fellini-like quality, with 20 dancers having a ball in a restaurant setting.It was fresh, unpretentious and quite delightful.But the best was yet to come.Bitterfly, choreographed and danced by Or and Oren, was a surprising achievement, a true sparkling gem with inspiration and elegant handling of all components.It’s been a while since a fringe group in its initial stage has produced such a cohesive creation, mature and so finely detailed in terms of movement and expression. Truly mused, this piece fits in the theater- dance genre, which is often considered a bit old fashioned. But this Bitterfly concoction had more life force in it than most cutting- edge doodles. At its best, it was reminiscent of the brilliant French-Yugoslavian Josef Nadj.
Dance Review: Or & Oren Theater Company
'Bitterfly' was a surprising achievement, a true sparkling gem with inspiration and elegant handling of all components.
Suzanne Dellal, August 21Introducing their new company, Or Marin and Oren Nahum brought a wave of fresh air to the local dance scene with their humor, imagination, craftsmanship and talent.The evening, which contained four pieces, opened with Vanishing Point, performed by Or and Stav Marin. The two, tied to cables, devised an abstract dance that dealt purely with moving bodies in space and their kinetic and corporeal relationships.There was much grace in their close contact style and interesting linear dialogue of limbs.Origami, the second piece, was the weakest link that evening. It was performed by three dancers who swam in a deep pile of tissue paper, fighting strong currents of air produced by an industrial fan. The music, costumes and stage design were highly impressive, but the compositional content and conceptual aspiration were not on par and seemed to get secondary attention.While the stage was being laboriously cleared, six girls started singing sweetly. As it became evident that they were seated among the crowd, everybody got busy trying to spot them. I can’t recall a more pleasant intermission.The following piece was a video-dance called Sweet and Sour Waltz. Created by Or Marin and Lior Avizur, it had a captivating soundtrack and a Fellini-like quality, with 20 dancers having a ball in a restaurant setting.It was fresh, unpretentious and quite delightful.But the best was yet to come.Bitterfly, choreographed and danced by Or and Oren, was a surprising achievement, a true sparkling gem with inspiration and elegant handling of all components.It’s been a while since a fringe group in its initial stage has produced such a cohesive creation, mature and so finely detailed in terms of movement and expression. Truly mused, this piece fits in the theater- dance genre, which is often considered a bit old fashioned. But this Bitterfly concoction had more life force in it than most cutting- edge doodles. At its best, it was reminiscent of the brilliant French-Yugoslavian Josef Nadj.