Dance review: BATSHEVA ENSEMBLE Suzanne Dellal, December 17

December 21, 2015 20:24
1 minute read.

‘AND STILL’ . (photo credit: GADI DAGON)


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 analyses 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 uxperience almost completely free of ads
  • Access to our Premium Section and our monthly magazine to learn Hebrew, Ivrit
  • Content from the award-winning Jerusalem Repor
  • 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

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

Batsheva Ensemble, the younger company, got its day on stage with two new creations. One is a tighter and shorter rendition of Bill, Sharon Eyal’s full-evening work, originally composed five years ago. The other work, And Still by Daniel Agami, which opened the double bill, was tailored for the ensemble. Both Eyal and Agami are former Batsheva dancers and within its frame had danced together and absorbed Naharin’s Gaga discipline, and now peruse independent careers.

The revised Bill maintained most of the original artistic building blocks, yet the impression is more somber, restrained, with a more introspective approach relying on the intense dancing and well-managed balance of large formations. The body-toned outfits, silver gelled hair and specific detached perception of limbs gave the group an alien, cloned look, yet Eyal mellowed the impression with more opportunities for dancers to do solo roles or gain individual exposure.

Be the first to know - Join our Facebook page.

The soundtrack, a carefully tailored collaboration between sound artist Ori Lichtik, Sharon Eyal and Gai Behar, makes a strong impression. By designing the space through light, Avi Bueno was most instrumental in building layers of shaded ambiance.

As in all her creations, Eyal’s dance is greatly physical, passionate, sometimes wildly so, with thrust-out, undulating pelvises and deep pliés. There is all of that in Bill, yet Eyal kept the richly textured movement and toned down some throbbing unison passages in favor of more complex compositions.

Daniel Agami’s And Still is a dance with a strong sense of visual aesthetics, evident right from the opening scene, showcasing an original attitude toward space, with unusual play and curved lines. The company wore burgundy velvet outfits designed by Ari Nakamura, and Avi Bueno washed the stage and dancers in quick changes of flashy colored lights, which were hardly justified by the dance itself.

At that point, the work seemed to lose its momentum as well.

The Ensemble has some fine, promising dancers, but in past seasons it presented a brighter, tighter cadre, which gave the mother company Batsheva a run for its money.

Related Content

July 15, 2018
Israeli politicians on World Cup night say Viva Gaza border residents