Dance Review: UTF8

The work itself was interesting with fine kinesthetic encounters, healthy sense of absurdity and good humor, which left a very pleasant aftertaste.

By ORA BRAFMAN
October 5, 2010 00:40
1 minute read.
Electric. JVC's 'Yesterday.

dance theater 311. (photo credit: Courtesy)

 
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Sahar Azimi – UTF8,
Suzanne Dellal,
September 27

UTF8 ( Unified Transformation Format) is Sahar Azimi’s most ambitious work yet, and his collaboration with musician Didi Erez and lighting designer Danny Fishof of Magenta, has supported and added extra dimensions.

The first impression, even before the first move, was a striking image; Eight dancers stood in line against the back wall covered top to bottom with dozens of light sources.

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The stage, fully exposed, was covered with a shiny black linoleum like a pool of black water, surrounded by a frame of white zone, which indicated the off-stage area, for all purposes.

When the group moved in unison to Elvis Presley song – ‘Let me be your Teddy Bear’– they uncovered the basic structural skeleton of the sub-sections.

It seemed that almost all of the fragments contained group sections, often quite demanding, dotted with intricate, original solos or duets as highlights. Yet, all unison sections contained a subversive element, an individual spirit that needed to break out, to breathe outside the box, before it could regroup.

Celebrating the spirit of individuality is evident as well in choosing dancers for that ad - hoc troop. I don’t remember seeing such an oddity of dancers, truly a case of mixand- match, without the matching.

The work was meticulously detailed, dancers knew what they were doing each second, the audience couldn’t detect systematic codes and in reality, it didn’t make a difference since the chance/ risk factor remained in theory.

The work itself was interesting with fine kinesthetic encounters, healthy sense of absurdity and good humor, which left a very pleasant aftertaste.

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