Review: MayB, Company Maguy Marin, TLV Dance at the Suzanne Dellal Center

Marin redefines compassion through desolation and despair, misery and destitution. She composed MayB as homage to Beckett.

May 4, 2014 20:38
1 minute read.
‘MAYB’ PERFORMED by the company Maguay Marin.

‘MAYB’ PERFORMED by the company Maguay Marin.. (photo credit: Courtesy)


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


Maguy Marin’s theatrical dance work MayB, premiered in 1981, was soon recognized as a cornerstone of a new genre, which challenged the budding new expressionist dance with socio-political perspective and new aesthetic propositions. It also derived powerful images directly from playwright Samuel Beckett.

A group of 10 performers move together, shuffling their feet hesitantly. Perhaps they are survivors of war, refugees of an asylum, product of some traumatic experience.

Take your pick.

Dressed in drab garments, a cross between shrouds and underwear, covered with dust and ashes from head to toe, wearing shabby shoes, they look grotesque, as if life was sucked out of them. Yet, some primal instincts keep them going. The lame, the poor, the old and the ugly, a group of miserable misfits shuffle their feet, grunt and heave through their endless journey from nowhere to nowhere, moving in order to survive, dancing to feed their animalistic urges.

Marin redefines compassion through desolation and despair, misery and destitution. She composed MayB as homage to Beckett, one of the pillars of the theater of the absurd. In some respect, the work has also common ground with our own late playwright Hanoch Levin, who knew a thing or two about life’s miseries and misfits.

Since her first visit to Israel festival in 1989, and again 13 years ago, the relevance of her piece has only grown. 33 years ago, her proposed revolution of aesthetic and body politics was shocking. Since then, contemporary dance has gone much further, charting new borders. So did Maguay Marin in the past three decades, investigating and re-challenging herself, defining new targets.

As time passes, the revolutions of yesteryear call for new perspectives and MayB, like the truly cohesive masterpiece it is, contains inherent qualities that transcend time.

In the end, it’s not the wrappings that matter, but the basic integrity of artistic components.

With her unsurpassed quest for inner truths, she morphed the metaphoric ashes into a diamond.

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