Posted on 10 August 2009 by Deborah Friedes Galili
Rina Schenfeld in Angels. Photo by Gadi Dagon.
Earlier this summer, I published a guest post by Gdalit Neuman about Rina Schenfeld’s Angels. Neuman, a dancer in Schenfeld’s company, gave an inside look at the making of this new work, and a few weeks ago, I got to provide a different perspective for the Jerusalem Post. This article was originally published in the newspaper as “In The Arms of an Angel” on August 3, 2009.
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In the Arms of an Angel
“A new dance is like cooking. You have to put in a little bit of salt, a little bit of sugar, a little bit of everything,” reflects Rina Schenfeld about her choreographic process.
Schenfeld first made a name for herself as a powerhouse dancer with the Batsheva Dance Company from its inception in 1964 until 1979. But from a young age, she was already fascinated by choreography. Prior to studying at the prestigious Juilliard School, an 18-year-old Schenfeld created a prize-winning solo for herself. She went on to choreograph many dances for Batsheva, eventually retiring from the company in order to further pursue her own work.
Over decades of choreographic exploration, Schenfeld experimented with objects, fabric, video and a range of music. Now, she remarks, these elements are “all combining together in the cooking of a new evening.”
Rina Schenfeld in her new work, Angels. Photo by Gadi Dagon.
This article is a guest post by Gdalit Neuman. Enjoy!
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By Gdalit Neuman
Tel Aviv native Rina Schenfeld is one of Israel’s most celebrated artists. After studying at the world famous Julliard School in New York in her early twenties, Rina returned home and became a founding member and principal dancer of the Batsheva Dance Company from 1963-1979. There she danced historic roles in works by none other than Martha Graham, Glenn Tetley, and John Cranko, to great acclaim.
After leaving Batsheva, Schenfeld embarked on a highly successful international career as principal dancer and choreographer of her own company, Rina Schenfeld Dance Theatre, which is based in Tel Aviv. She is the recipient of countless distinguished international awards and in 1997 was honored with the Na’amat lifetime achievement award in the realm of dance. The New York Times hailed Schenfeld as “one of the most important artists of our generation.”
Now Rina Schenfeld has done it again. After the tremendous success of her last work Dance Me to the End of Love (ריקדי לקצה האהבה), she will present her latest full length evening entitled Angels (מה לך מלאך?) at the Suzanne Dellal Center in Tel Aviv on June 23rd. Angels is a journey into this first lady of dance’s wild and wonderful imagination. Using songs by Laurie Anderson as inspiration, Schenfeld paints a colorful canvas of images, movement, sound and screen that tempt the pallet and are sure to satisfy. Images of suspended angels, darkness and light, the Garden of Eden, and past and present speckle the stage.
Posted on 24 January 2009 by Deborah Friedes Galili
(Video: Vertigo Dance Company in Noa Wertheim’s White Noise)
There is no rest for the weary. In Israel, Saturday is Shabbat, the day of rest – but International Exposure is not letting us sleep in this morning. The schedule looks good, though, so I’m not too upset!
Today we start at 11:00 a.m. with Vertigo Dance Company in Noa Wertheim’s full-length White Noise. Then we’ll leave Suzanne Dellal and head across Tel Aviv to Tmuna Theater. At this smaller space, we’ll see part of Tamar Borer’s butoh-influenced Bardo as well as Noa Shadur’s Hunting Rabbits in the North.
After a reception in the evening, we finish our day with a mixed bill: Rina Schenfeld’s Dance Me to the End of Love; Tirza Sapir’s High Tide, Low Tide (performed by Rikudnetto/DanceNet Group); Idan Cohen’s Joy Ride; and excerpts from Yoram Karmi’s Pulcinella (performed by the Fresco Dance Company).