DANCE REVIEW: 'META'

Inspired by Japanese butoh, Tamar Borer reaches new mastery.

By ORA BRAFMAN
January 23, 2018 20:23
1 minute read.
DANCE REVIEW: 'META'

META . (photo credit: NATASHA SHAKNES)

Tamar Borer
‘META’
Jaffa
January 10


Veteran dancer/choreographer Tamar Borer’s latest creation, ‘META,’ deals with metamorphoses On the stage of the small venue Hateiva, Tamar Borer uses clever sets and her hypnotic performance skills, along dancer Noa Shavit, to lay out intriguing somatic and spiritual artistic statement, using various visual changes of a symbolic nature. The journey ended with what seemed to be true personal deliverance.

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Borer’s stage career itself has undergone a metamorphosis over time. As a young dancer she became paralyzed from the waist down as the result of an accident. Searching to define and refine her art, she was intrigued by Eastern philosophies and Japanese butoh, which freed her from most Western dance conventions.

META is one of her better works; she has found cohesive means to deal with complex ideas, using quite original crafted props like fiber and metallic materials rich in texture, supported by strong visual and tactile effects.

Dancer Noa Shavit, as Borer’s alter ego, was both effective and synchronized with Borer’s singular artistic niche. She carved for herself a bit more of an active role with actions dealing mostly with changes of her own form, maintaining a transformative state which echoed Borer’s more introverted states of mind.

Interaction between the dancers worked well and produced numerous touching situations, with minimal movements. Shavit, a strong dancer, conveyed restrained supportive presence while Borer’s presence is dominant, with her restrained intensity, as her expressive eyes and hands evoke many rich emotional nuances.

META is a powerful vehicle for two strong dancers and Borer had proved that her work can get deeper, become more crystallized, making her one of the more unique performers in Israeli dance.


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