Tag Archive | "Tel Aviv Opera House"

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The Paul Taylor Dance Company Comes to Israel

Posted on 26 April 2010 by Deborah Friedes Galili

Video: Paul Taylor Dance Company

I have to admit I have a soft spot for Paul Taylor.  After spending twelve years immersed in ballet, I made the switch to modern dance in college, where the classes I took from Julie Strandberg were strongly influenced by Taylor’s technique. During both my undergraduate and graduate years, I had the good fortune to study with former Taylor dancers including Carolyn Adams and Victoria Uris. And through videos and concerts, I became acquainted with some of Taylor’s remarkable repertory. Now that the Paul Taylor Dance Company is touring to Israel, I’m looking forward to feasting my eyes on what promises to be a memorable mixed bill.

My preview of the Paul Taylor Dance Company’s Israeli tour was originally published in the Jerusalem Post as “A Poet of the Body.”

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A Poet of the Body

Paul Taylor’s Promethean Fire.  Photo by Lois Greenfield.

Paul Taylor has come a long way since being dubbed as the “naughty boy” of dance by legendary modern dance pioneer Martha Graham. Over fifty years after shocking the American concert dance establishment with his avant-garde choreography, Taylor is regularly met with monikers of a different sort. Vanity Fair anointed him in 2004 as “the greatest choreographer in the world,” praise which has frequently been echoed by dance critics across the globe. Now Israeli audiences have a chance to see the famed dancemaker’s wares when the Paul Taylor Dance Company tours to Petach Tikva, Haifa, Jerusalem, and Tel Aviv.

Taylor made his first forays into choreography while still performing for Graham, and since his company’s debut in 1954, he has created an astonishing 131 dances. Yet far more impressive than the sheer number of his works is the high caliber of his artistic output. After Taylor’s initial experiments – which included one infamous four-minute piece composed purely of stillness – he developed a rich signature movement language and trained his company to dance with a special quality that might be described as weighted ease. His works are infused with this physical imprint as well as a keen sense of composition and a marvelously nuanced musicality. And whether abstract in nature or more specifically outfitted with settings and characters, Taylor’s dances wield a rare communicative power, speaking of and to the human spirit.

Taylor’s extensive body of work traverses an exceptionally wide thematic range, covers a full spectrum of moods, and boasts a broad array of musical accompaniment. This multifaceted diversity will be on display in the PTDC’s performances in Israel with a stellar line-up of three distinctive dances: Changes, Piazzolla Caldera, and Promethean Fire.

Paul Taylor’s Changes. Photo by Paul B. Goode.

Created in 2008, Changes hearkens back to an earlier era as evoked by the songs of the popular 1960s vocal group The Mamas and the Papas. Clad in bell-bottoms and hippie-style tops covered in psychedelic prints, the dancers start in a colorfully lit club atmosphere. Social dance crazes like the pony and the monkey blend seamlessly into Taylor’s own vocabulary as the cast moves through the highs – drug-induced and otherwise – and the lows of the time. Teetering and tilting, the group is swept across the stage by the winds of change.

Paul Taylor’s Piazzolla Caldera.  Photo by Paul B. Goode.

Piazzolla Caldera (1997) transports the dancers to another atmosphere entirely, one inspired by a tango salon. Set to the music of renowned Argentine tango composer Astor Piazzolla and Jerzy Peterburshsky, a Polish composer best known for his tangos, Piazzolla Caldera is laced with passion. Drawing from the traditional steps of the tango as well as his personal style, Taylor pairs off his dancers and sends the couples into deep dips and swirling turns. Feisty flicks of the foot and sharper accents are juxtaposed with smooth, legato stretches. This sultry mix has proved to be a winning formula, enlivening a documentary that was made during the work’s creation and subsequently capturing the hearts of audiences and critics alike.

Paul Taylor’s Promethean Fire.  Photo by Lois Greenfield.

Yet it is Promethean Fire (2002) that is this triple bill’s crowning glory. Hailed by the New York Times’s Anna Kisselgoff as “one of the best works choreographed by Paul Taylor,” Promethean Fire does indeed feature some of Taylor’s finest craftsmanship. The choreographer artfully maneuvers his sixteen-member ensemble across the stage, alternately carving sweeping curves and striking lines through the space before assembling the dancers in stunning sculptural group formations. Taylor’s formal composition suits the grand orchestral score by J.S. Bach, and although the work is abstract, the dance is exceptionally moving, leaving the viewer with a sense of renewal.

Watching a more classically tailored masterpiece like Promethean Fire, it’s hard to imagine that Paul Taylor ever caused such scandal with his choreography. But while he has reinvented himself from the mischievous rebel to the celebrated master of modern dance, one characteristic has remained constant in Taylor’s evolving artistry: his uncommon ability to stir the audience’s emotions.

More Information

The Paul Taylor Dance Company performs at Heichal HaTarbut in Petach Tikva on April 27th, the Haifa Auditorium on April 28th, the Jerusalem Theater on April 29th, and at the Opera House in Tel Aviv from May 1-4. Tickets (149-299 NIS) are available at 03-9125222 (Petach Tikva), 04-8418411 (Haifa), 02-6237000 (Jerusalem), and 03-6927777 (Tel Aviv).

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Mark Morris Brings His Musicality to Tel Aviv

Posted on 23 December 2009 by Deborah Friedes Galili

Video: Preview of Mark Morris Dance Group’s Tel Aviv performances

During the first year that I lived in Israel, most of the foreign dance companies which came to town hailed from Europe.  But more recently, a number of well-known American companies have toured to Israel, including Alonzo King LINES Ballet, Momix, and Hubbard Street Dance Chicago.  Now the Mark Morris Dance Group is headed to Tel Aviv’s Opera House for six performances split among two programs.  A few weeks ago I spoke to Morris via Skype, and based on our conversation, I published the article below as “Moving to the Music” in the Jerusalem Post.  Read on to learn more about Morris’s connection to music and about his company’s tour to Tel Aviv.

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Moving to the Music

“For me, live music is not a radical, weird extravagance; it’s absolute necessity, so that everyone in the theater – audience and performers – is alive,” asserts choreographer Mark Morris.  Based in Brooklyn, New York, Morris is one of the United States’ most celebrated choreographers and a popular, familiar artist abroad.  He set two of his works on the Batsheva Dance Company during the 1980s and subsequently spent three years in residence at the Théâtre Royal de la Monnaie in Brussels.

It was after this period that Morris, who is renowned for his finely tuned musicality and had always preferred live to recorded accompaniment, made “a solemn vow to only perform with live music, no matter what.”  Reflecting on this unwavering commitment, he explains, “of course it’s less work and it’s less money and it’s less time consuming to use recorded music, but as far as I’m concerned, everybody has those records at home.”


Mark Morris’s V.  Photo by Robbie Jack.

Back in the United States, Morris assembled a roster of top-notch musicians who, in varying combinations, perform alongside the Mark Morris Dance Group both at home and on tour.  When the MMDG visits the Tel Aviv Opera House later this month, the company’s nineteen dancers will be joined by several members of the MMDG Music Ensemble for two diverse programs of Morris’s captivating choreography.

As he divulges the list of works on the two bills, Morris notes, “I like to think of it as one program that takes two nights to watch.”  The MMDG last visited Israel in the mid-1990s, and Morris suggests that audiences take advantage of the company’s rare appearance by attending both evenings.  “It’s really a very different experience,” he promises.  “They’re both very complete programs with a big variety of approaches and music.”


Mark Morris’s V.  Photo by Robbie Jack.

Listening to Morris talk about the repertory his group will perform in Israel, it’s clear that his work holds a powerful attraction not only for modern dance enthusiasts but also for classical music buffs.  Scanning over the list of works on Program A – All Fours, V, and Visitation – he muses, “Well, it’s Bartok, Schumann, and Beethoven; that’s pretty good already.”  Then he turns to Program B, noting with approval the two Mozart compositions for Eleven and Double as well as Lou Harrison’s Grand Duo, to which Morris created a dance of the same name.

While Morris always studies his selected music meticulously, he feels a sense of artistic freedom in the way he works with each score.  “As a choreographer or as a listener, what you find in a piece of music is there,” he claims.  “There’s no arguing it; it’s not a word translation thing.  It’s the same with a dance: it doesn’t have to go in any particular way with the music.  It’s different for every piece, I hope.  I like a big variety of approaches, so that’s why I choose such different pieces of music.”


Mark Morris’s Double. Photo by Gene Schiavone.

It’s this voracious appetite for music and open-minded attitude that fosters such an extraordinary range in Morris’s extensive repertory and indeed, even in a single program.  Set to Mozart’s “Piano Concerto No. 11” (arranged for piano and strings) and his “Sonata in D Major” for two pianos, respectively, Eleven and Double share a refined movement quality which matches the tone of the music.  Yet Grand Duo, which closes Program B, is what Morris calls a “perfect antidote to those [two works] . . . It’s wild. It’s quite extreme and it’s quite gorgeous.”

Grand Duo

Mark Morris’s Grand Duo.  Photo by Marc Royce.

Asked if he has any words of wisdom for Tel Aviv audiences, Morris advises, “Come ready to listen and watch at the same time.  That’s already a lot to do,” he says laughingly.  “[It’s] already a big responsibility to watch and listen at the same time.  But,” he adds wisely, “there are many rewards for that.”

Concert Information

The Mark Morris Dance Group performs at the Tel Aviv Opera House from December 29 to January 3.  Tickets (159-339 NIS) are available at (03) 692-7777.

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Israeli Dance: What’s Happening in October

Posted on 06 October 2009 by Deborah Friedes Galili

Video: Maria Kong’s Fling

As usual, there are lots of dance performances happening in Israel’s dance scene this month – but as I looked at the calendar, I realized that October is packed with several extra-special events.  Below are some teasers for premieres, festivals, foreign tours, online contests, and more.  For additional information about the following events and other performances, please visit the Dance In Israel Calendars.

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