See Her Change dance 370.
(photo credit: Tamar Lamm)
Yasmeen Godder’s latest creation See Her Change maintains more than the usual
dose of improvisational spirit, yet its spontaneity is polished meticulously,
down to the smallest detail.
Just as with her previous creations, See Her
consists of complex layers of contradicting messages, often giving the sense of
miniature puzzle with couple of pieces missing. You can put all the fragments
together, but still never get the complete picture.
The work – a
co-production with Montpellier dance festival – is however a more intimate
affair than most of her previous works. On stage there are Godder and two of her
dancers/collaborators, Dalia Chaimsky and Shuli Enosh, both well versed in
Godder’s own idiosyncratic gestures, to the point where they act as her
But when Godder is on stage, her demanding presence
overshadows the rest, regardless of the heroic effort made to produce three
Godder’s stage persona – performed by the three –
alternates between strength and tense control; sensual, self absorbed, languid
relaxation; or comic, happy-go-lucky phrases which shift in whip-lash flexions
of muscles and fists.
The change in See Her Change
is in the details, not
the technique, ambiguous ambience or unique phrasing. Godder’s theatric dances
always lean on props, this time endless trouser changes and multi-colored curly
wigs, hair pieces and quite a few hair fetish manifestations, accompanied by
some clowning, moaning, mooning and exposure of body parts.
It was yet
another distinctive Godder creation, with stuck-out tongues, forcefully
stretched lips, quirky positions and playful lust wrapped into an ongoing
investigation of contradicting urges caught in a loop.
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