Tag Archive | "SummerDance2009"

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Sally-Anne Friedland’s “A Private Collection”

Posted on 13 August 2009 by Deborah Friedes Galili

Video: Sally-Anne Friedland’s Dance Drama Company in A Private Collection

One of 11 premieres in this year’s Maholohet festival, Sally-Anne Friedland’s A Private Collection was first performed at Suzanne Dellal on July 19th.  Now the work is heading to Jerusalem on August 20th and returning to Tel Aviv’s Suzanne Dellal Center on August 22nd.

My preview of A Private Collection was first published as “A Public Premiere” in the Jerusalem Post on July 17, 2009.

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A Public Premiere

When choreographer Sally-Anne Friedland was commissioned to make a work for her visit to the Alvin Ailey Citigroup Theatre in New York City, she created a short dance called Borders.  “It was like an unfinished symphony,” Friedland explains, “I knew I would come back to it one day.”

Three years later, Borders has become what Friedland calls the “cornerstone” of her latest creation.  Like its predecessor, A Private Collection investigates “intimate borders, personal borders, how far we can go and what we need for protection.”

But this new work goes deeper, with three sections that take the audience on a multi-layered, visually luscious journey.  Opening with dancers spread across the floor in frozen positions and covered with pastel-colored sheets of tulle, “Yesterday” conveys the sense that something has already happened.  The dancers soon come alive, cleverly manipulating the nets to become bustles or bridal veils.

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Another View of Rina Schenfeld’s “Angels”

Posted on 10 August 2009 by Deborah Friedes Galili

Rina Schenfeld's "Angels"

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.”

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