Tag Archive | "Repertory"

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Experiencing Yasmeen Godder’s Repertory Workshop

Posted on 30 September 2009 by Deborah Friedes Galili

Yasmeen Godder's "Two Playful Pink"

Yasmeen Godder and Iris Erez in Godder’s Two Playful Pink.  Photo by Tamar Lamm.

More than a year ago, I had the opportunity to take a week-long repertory workshop at Yasmeen Godder’s studio.  I found the intensive enriching both as a dancer and as a dance researcher, and I recounted my experience on The Winger on April 4, 2008; that article is posted below.

Now another batch of advanced dancers will have the chance to sink their teeth into Godder’s meaty material during a brand-new, year-long intensive.  Hosted by ActSearch and held at Godder’s studio in Jaffa, this program will build participants’ physical and expressive skills through a mix of technique classes, repertory workshops, and sessions with dramaturge Itzik Giuli.

Besides preparing for this exciting endeavor, Godder has been touring one of her latest works, Singular Sensation. Want to watch some of her work and see what’s in store for her new students?  There are lots of upcoming performances in several locations.  After one more performance of Singular Sensation at Suzanne Dellal on October 1, the production is traveling to Prague and Bern in October before touring Germany and Belgium in November.  For more information on the intensive workshop and the tour, check out the links at the end of this article.

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Yasmeen Godder’s Repertory Worskhop (April 2008)

It’s been more than seven months since I have learned new repertory, and while I’m loving my dance classes and improvisational projects, I do miss the process of absorbing and living in a piece of choreography.   So even though my body feels a bit tired now, my spirit is extremely happy after tasting a bit of Yasmeen Godder’s work!

I just finished a five-day workshop at her studio in Jaffa (at the south of Tel Aviv – technically, the city is Tel Aviv-Yafo).  Yasmeen is currently on tour in Europe with her production Sudden Birds, so two of her dancers led the intensive.  Each day began with Eran Shanny’s technique class, which was very similar to Yasmeen’s with its influences of release technique, yoga, Feldenkrais, and more.

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Reflections on the Gaga Intensive 2009

Posted on 06 August 2009 by Deborah Friedes Galili

Gaga Intensive

Ohad Naharin leads class at the Gaga Intensive 2009.  Photo by Gadi Dagon.

Last year, I only made it to two days of the Gaga Intensive because I was heading back to the U.S. for the summer.  But this year, I enjoyed two glorious weeks of dancing with 120 participants from around the world.  During our breaks, I talked to many of the dancers about why they came to the workshop, what they enjoyed most, and what they got out of the experience.  I’ll be posting more of my writing about the Gaga Intensive later, but first I wanted to bring you some inspiring voices from these dancers.

If you want to share your experience from the Gaga Intensive, you can write a comment at the bottom of this post!

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Allison Shir

– United States, via Amsterdam

I came to the Gaga workshop to expand my vocabulary in a new way.  Sometimes if you keep going to the same classes and do the same styles, your artistry can get stale.  I think this [intensive] is a lot about how your artistry can feed your physicality and technique rather than the other way around.  I think that makes for a much richer and satisfying workshop, and you can take away a lot for your career and your life.  It’s not just about dancing with your body but with your life, and about the interconnectedness of everything – there are dynamic possibilities within everything here.

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CityDance in Jerusalem: Exploring the Gaps Between American and Israeli Dance

Posted on 08 May 2009 by Deborah Friedes Galili

Video: CityDance Ensemble

You would have thought that to meet Paul Gordon Emerson, the director of the Washington D.C. based CityDance Ensemble, I would have taken a train from New Jersey (my home state) to the capital of the U.S. while I was still living there.  But instead I grabbed a bus to Jerusalem a few nights ago.

Let’s backtrack: Paul’s interest in reviving older modern dance masterpieces and my research on these works first brought us together online nearly six years ago. We’ve kept up our correspondence over the years, reconnecting this fall when CityDance staged Sophie Maslow’s Folksay from Labanotation score (this was doubly exciting for me: my undergraduate thesis on Jewish-American choreographers highlighted Maslow’s career, and I studied Labanotation intensively in graduate school). Yet we never met face to face – until now.

CityDance is currently touring the Middle East, and as part of the Ramallah Contemporary Dance Festival – which features companies from around the world performing both in the West Bank and in Israel – the company had concerts in Jerusalem and Nazareth this week. Since the Tel Aviv is only an hour away from Jerusalem, I jumped at the chance to see the company and hopped on a bus.

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“Then and Now” Brings Old and New Together at Shades of Dance

Posted on 22 March 2009 by Deborah Friedes Galili

Video: Then: Ronit Ziv’s Rose Can’t Wait, from the 1999 Shades of Dance Festival

On my way home from “Then and Now,” a special opening program of the Shades of Dance (Gvanim) festival, J.S. Bach’s Air on the G String played on my iPod.  Immediately, images from a black-and-white film of choreographer Doris Humphrey’s Air for the G String flashed through my mind. Humphrey’s dance has not only been immortalized on film but stayed alive in reconstructions from Labanotation score; it’s a powerful reminder that choreography doesn’t need to be shelved a few years or even many decades after its premiere.

This was an appropriate vision after a concert which not only celebrated the new but paid tribute to the old.  Opening a festival devoted to emerging choreographers, “Then and Now” featured excerpts of four dances which, in the days when the festival doubled as a competition, won the coveted first prize.  Selections from Nir Ben Gal and Liat Dror’s Two-Room Apartment (1987), Noa Wertheim and Adi Sha’al’s Vertigo (1992), Barak Marshall’s Aunt Leah (1995), and Ronit Ziv’s Rose Can’t Wait (1999) shared the stage with excerpts from the choreographers’ latest dances.

These works were met with an extremely warm reception, and I’m sure that the choreographers’ own performances contributed to the excitement.  The prolonged unison and matter-of-fact manners of Nir Ben Gal and Liat Dror, the high-speed actions and reactions of Noa Wertheim and Adi Sha’al, and the daring physicality of Ronit Ziv and fellow dancer Noa Rosenthal were riveting to watch – especially because, in the case of Nir & Liat and Noa & Adi, these choreographers no longer perform on a regular basis. (( Barak Marshall, who is now based part-time in L.A., was not in Israel for this performance. ))

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