Dancers in chairs 311.
(photo credit: Courtesy)
The unique cooperation that the Israeli dance group De De and the Berlin-based
company Wee has sustained for the past eight years eventually yielded an
improved remake of Berlin Jaffa and a most impressive production in its own
The evening is composed of several subsections intertwined with
short video pieces, which layer the artistic grounds with human-size scenes of
urban life. It keeps its focus on small, intimate moments within an alienated
setting and goes so far as to break the division between professional and
Credit for the evening is given to Ya’ara Dolev and Amit
Goldberg, founders of De De, their partners Dan Pelleg and Marko Weigert, and
several Wee dancers, but all the dancers are credited as contributing
All nine dancers work extremely well together as an
ensemble, endowing the performance with highly polished, topnotch production
value, which was a pleasure to see.
By using very clever lighting and
dramaturgical editing, the separate scenes fitted and formed a consistent dance
approach, favoring pure movement with strong human contact.
evening’s highlights were most of the duets, particularly the moving slowmotion
duet set to Leonard Cohen’s “Hallelujah,” with unusual horizontal lifts by
partners of both genders, and the spectacularly smart male duet with oversize
coffin-like cardboard boxes. All together, the duets and group sections – many
in unison – slow or fast ones, pensive or impishly funny, the evening retained
intelligent, aesthetic control and a finesse along logical kinetic work that is
all too often missing from our own dance stages.
This highly refined
evening proves the talent and capabilities of the De De group, which we don’t
get to see too often.
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