Dance Review: Sharon Fridman

More and more we learn of Israeli choreographers who have made a name for themselves internationally.

By ORA BRAMAN
Dancer Sharon Fridman 311 (photo credit: Courtesy of Vantana Madrid)
Dancer Sharon Fridman 311
(photo credit: Courtesy of Vantana Madrid)
More and more we learn of Israeli choreographers who have made a name for themselves internationally. Sharon Fridman, a former dancer for Vertigo, The Kibbutz Company and Batsheva Ensemble, moved to Madrid five years ago as part of our own rhythm and dance group Mayumana, which set a second base in Madrid.
In recent years Sharon choreographed short pieces, mostly for independent projects with small, ad hoc groups of dancers, but his recent full piece, At Least Two Faces, attracted enormous attention in Spain.
Following the preliminary buzz, he introduced his work to dozens of international programmers and dance festival directors at Madrid’s “Ventana de la Danza,” many of which requested to include him in their future festivals.
On the verge of a huge breakthrough in his career, he is already invited to open big summer festivals in Marseilles in June, and another in Paris in July. Besides presenting his stage work there, he will direct an outdoor installation with over 100 participants, in one of Paris’ biggest squares.
At Least Two Faces was introduced at the Madrid Ventana at a renovated 19th-century army barracks. It opened with a breathtaking scene of dancer Arthur Bernard pacing on top of some wooden panels. The second he lost his footing, Sharon rushed in, caught him mid-air and carried him like an infant.
The piece is very physical, a virtuoso, contact-style dance within an architectural structure with moving panels.
The fragments of the set were continuously shifting the third participant, which through his actions turned the duet into a trio. The fast and intricate situations, ever-changing relationships and sizzling energy showed that At Least Two Faces, with all that invested talent, has at least 100 more.