Dance Review: 'Swan Lake'

Without the support of its romantic narrative, Swan Lake is stripped to its fundamentals by Idan Cohen.

By ORA BRAFMAN
August 30, 2009 10:48
1 minute read.
dance 88

dance review 88. (photo credit: )

 
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 analyses 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 uxperience almost completely free of ads
  • Access to our Premium Section and our monthly magazine to learn Hebrew, Ivrit
  • Content from the award-winning Jerusalem Repor
  • 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 Don't show it again

Swan Lake By Idan Cohen SummerDance at Suzanne Dellal August 26 Without the support of its romantic narrative, Swan Lake is stripped to its fundamentals by Idan Cohen. It is an intriguing expedition by three female dancers in search of the basic choreographic building blocks. Cohen is one of the more talented representatives of today's young, independent choreographers; he steadily perfects his craft, and now, for the first time, has offered an ambitious, full-evening production set to Tchaikovsky's renowned score. Looking for ties or interconnecting points between the 19th-century ballet and Cohen's may be futile, since obviously he is not offering a revised version of the old ballet (which was a common practice in the '80s and '90s). Instead, he uses the ballet in a conceptual manner, utilizing little bits and pieces as inspirational aides. Two of the dancers, Reut Levi and Rita Komisarchik, were already impressive when they took part in his previous creation last year, and now, joined by Daniel Gal, they solidified a triumphant triumvirate. Strong, assertive and precise, the three execute Cohen's cohesive lexicon with panache. His vocabulary is a carefully developed deconstruction that covers a wide range of textured details, enriched by varied intensity. It was a pleasure to follow all three in their solo and duo variations as they toyed with slight innuendoes, moved in between pauses, posed still mid-phrase, rolled, practiced their vertical jumps, acted out fleeting moments and slowly got wilder and more animalistic. They ended in a frenzied, brilliant scene, slouched on a stage covered with red, ripe tomatoes, already crushed beneath them. Thus, the dance evolved from secured innocence to risqué decadence.

Related Content

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

By JTA