Dance Review: Tania Perez-Salas Dance Company

Aestheticism ruled the stage, delighting in a great many beautiful sights.

November 4, 2008 11:26
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


Tania Perez-Salas Dance Company (Mexico) TAPAC October 30 Tel Aviv Dance hosted choreographer Tania Perez-Salas's dance concoction, which contained a love for dance in its purest form and communicated well with mainstream audiences. Salas has a true sensitivity for spatial composition, and she is aware of lighting options that define space and moving bodies and set an ambiance. The company's wonderful group of nine dancers was a pleasure to see. Although each dancer had an individual presence onstage, all together they formed a warm ensemble with a free and cohesive perception of movement language. Aestheticism ruled the stage, delighting in a great many beautiful sights. Salas employed a number of very successful means - though not necessarily unique or original - to create audience-pleasing visual effects, such as an oversized puffed-up silk hoop skirt that harbored three reclining dancers, hanging ropes for an aerial scene, a shallow pool onstage and streaming white sands from above. Obviously, the choreographer was not looking to redefine the borders of dance, but to carve a personal, non-subversive niche - which she certainly did. The company opened with The Hours, almost neo-classical in its approach, that relied on fine lines that respond well to Vivaldi's music. Anabiosis, which followed, had a contemporary look with a series of very short scenes that worked like quick flashes of memory. Its captivating rhythms matched its delicately erotic, voyeuristic mood. In Water of Forgetfulness, Salas used water and sand, which always work extremely well with light. The piece elicited sighs of pleasure as the dancers splashed and moved to the sad notes of the wood flutes.

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


Cookie Settings