Dance Review: Under the Rug

All three sections of the evening belong stylistically to the Dance Theater genre.

February 14, 2010 22:48
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 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

Dafi Eltabeb
Home Made
Inbal theater hall
February 13

At the recent Curtain Up festival, Dafi Eltabeb presented Under the Rug, a piece that left an unsettling residue. This time she also opened her evening with same work, danced by Miriam Angel, Shelly Lautman, Dafna Miro and Merav Dagan, a strong, powerful female cast.

Be the first to know - Join our Facebook page.

All three sections of the evening belong stylistically to the Dance Theater genre, using props to create short cuts to the thematic subject matter which guides the works and underlines them.

The piece itself supplied a hidden insight into relations and fantasies that metaphorically are swept under the rug too often, particularly as they pertain to less orthodox sexual practices, power games and manipulations. All four dancers are strong and contribute their assured personality in a convincing and well detailed manner.

As the piece progressed, the dancers’ ensemble work got stronger, more fluent and dynamic, supplying quite a few interesting images and moves.

The second piece was by dancer Roi Yitzhak Halevi. Why he called it Hertzel is anyone’s guess. The capable ex-Batsheva dancer wanted to say something meaningful about complex sexuality in a blunt manner, but regretfully he is clueless as to the basic tools of the choreographic craft – beginning with awareness of space. Halevi did touch on some sensitive issues of gender confusion and erotic deviation up to pedophilic urges, yet his actual dealings with those sensitive materials lacked any sublimation or other detached processes. Someone needs professional help, perhaps not only in the art department.

The third and last piece by Eltabeb was full of humor, and was rendered with flare by Dafna Miro, Oren Tishler and Adi Peled. But it was short and a bit thin, which made it look like a preliminary sketch that didn’t go very far.

Related Content

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