Posted on 14 January 2009 by Deborah Friedes Galili
(Video:The Noa Dar Dance Group in Tetris, a collaboration between Noa Dar and visual artist Nati Shamia-Opher)
I first wrote about Noa Dar’s Tetris (טטריס) in “From Studios to Stages” on my own blog and have edited an excerpt of that article for this post.
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It’s no wonder that Tetris (2006) premiered at the Acco Festival for Alternative Theater, or that it won a prize there. This collaboration between choreographer Noa Dar and visual artist Nati Shamia-Opher shapes the performance space into the most alternative set-up that I have ever witnessed, and it left its mark on my mind when I saw it last year.
I heard about Tetris soon after arriving in Israel and eagerly looked forward to seeing a staging in Tel Aviv at the Noa Dar Studio. I was familiar with the the chosen location because I had taken several contemporary technique classes there – but when I arrived for the performance November 10, 2007, I found the studio cleverly transformed. Tetris‘s treatment of the spectator-performer relationship in this redesigned space is so unique that I would like to describe a bit of it below:
Posted on 22 November 2008 by Deborah Friedes Galili
(A studio at Adama in Mizpe Ramon)
Right now I am spending my time in Hebrew ulpan rather than the dance studio, but last year I happily spent my first few months traipsing from studio to studio. I was fortunate enough to return regularly to several teachers while funded by my Fulbright grant, including some of those mentioned in “Surveying Dance Training in Israel: A Report from the Studios.” Over the course of the year, my impressions of technique styles and influences developed not only through my continued attendance but through conversations with my teachers. You will get to hear from some of these artists themselves in my podcasts and in write-ups of interviews, but for now, you can read my first impressions as a newcomer to Israeli studios.
I first wrote this post on November 6, 2007 for my own blog.
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Besides attending concerts and meeting dance scholars, I am busy investigating technique classes in Tel Aviv. I am attempting to do my initial survey in a relatively methodical manner, working my way slowly from studio to studio and taking classes labeled modern (מודרני – “moderni”), contemporary (עכשווי – “achshavi”), or release (רליס – “release”) before plunging into the world of Gaga, a technique developed by Ohad Naharin, or indulging myself with a ballet class.