Tag Archive | "Three"

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Batsheva Dance Company: Ohad Naharin’s “Shalosh” (“Three”)

Posted on 15 February 2010 by Deborah Friedes Galili

Video: Batsheva Dance Company in Ohad Naharin’s Three

Five years after its premiere, Ohad Naharin’s Shalosh (Three) still lures audiences to the Suzanne Dellal Center – and judging by the enthusiastic curtain calls last Saturday night, the work continues to captivate crowds.  My preview of this run of Three was originally published in the Jerusalem Post as “Lucky Number ‘Three.'”

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Three by Ohad Naharin.  Photo by Gadi Dagon.

Addressing a small crowd in the Batsheva Dance Company’s studios during an open rehearsal of Three, artistic director and choreographer Ohad Naharin mused that we frequently revisit books, movies, and music. So why not revisit a dance?

Naharin proposes that Tel Aviv audiences do just that when Three, an evening-length work which premiered in February 2005, returns to the Suzanne Dellal Center this weekend.

Guy Shomroni and Sharon Eyal in Three by Ohad Naharin.  Photo by Gadi Dagon.

“The showing of Three in Tel Aviv offers the viewer a renewed meeting with the work, which exists inside a constant process of development since its creation,” Naharin explained in a press release. “This process, in which the work is growing and being refined all the time, is just as meaningful in the company’s work as the process of creation before a premiere.”

At the rehearsal, Naharin elaborated why both of these processes are so vital.  “Since the premiere, the creation went through a lot of changes.  I like to think of the premiere as a birth, since it’s clear to everyone that birth is just one moment, and that afterwards many other things happen,” he reflected.  “There is no doubt that the work changed, improved, among other things because of the meeting with the dancers, who are very creative and musical themselves.  This is one of the reasons that I recommend for people to see the creation twice, at the beginning and after a year or two once it has gone through this process of ripening.”

Three by Ohad Naharin.  Photo by Gadi Dagon.

In the case of Three, the work has enjoyed five years of ripening while remaining in Batsheva’s active repertory.  Consequently, original cast members who have stayed with the company as well as newer additions to the troupe have had ample opportunity to develop their interpretation of the dance, calibrating their embodiment of the choreography with previously elusive nuances and subtleties.

Nowhere is this maturation more important and beneficial than in a work such as Three, which in the absence of complex stagecraft and elaborate visual design reveals the movement and the dancers’ performance of it as the main subject.  Lit plainly but effectively by Avi Yona Bueno (Bambi) and clothed in Rakefet Levy’s basic, solid-colored tops and closely fitting cropped pants, the dancers approach Three’s sophisticated, multi-layered movement with a confident straightforwardness.

Three by Ohad Naharin.  Photo by Gadi Dagon.

As the title suggests, Three contains three discrete sections, and Naharin’s compositional and musical choices provide each part with a distinctive feel.  In “Bellus,” set to Glenn Gould’s celebrated recording of J.S. Bach’s Goldberg Variations, a simple purity reflective of the music pervades both the dancers’ finely wrought solos and the more pared down, precise group work.  Brian Eno’s spare, evocative Neroli provides the soundscape for “Humus,” which features a flock of the company’s women methodically repositioning their bodies and shifting their spatial formation in an entrancing unison.

“Secus,” the final section, boasts a musical collage that stretches from the offbeat electronic stylings of AGF to the alluring Indian melodies of Kaho Naa Pyar Hai to the resonant harmonies of the Beach Boys.  This adventurously eclectic mix serves as a fitting backdrop for the audaciously quirky choreography.  From total stillness, the dancers burst into flurries of activity, creating a sense of organized chaos both in the space and within their bodies.  Their novel movement often defies description, but it constantly commands attention and inspires awe.

Three by Ohad Naharin.  Photo by Gadi Dagon.

Three’s extraordinarily rich physical texture can be attributed at least partly to the evolution of Naharin’s movement language, Gaga, in the early 2000s.  Naharin noted that just a few years prior to Three’s premiere, “Gaga became the heart of the daily practice of the company,” and he added, “this common language [Gaga] held the keys to the process” of making Three.  Indeed, the marvelous movement invention and robust embodiment which characterize Three are closely linked to the practice of Gaga, which expands the dancers’ ability to research movement possibilities and awakens their sensitivity to physical sensations.  Five years later, Batsheva’s dancers bring a deepened understanding of Gaga to their performance of this work.  And that’s reason enough to revisit Three for a second or even a third time.

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Batsheva Dance Company: From Graham to Gaga

Posted on 21 September 2009 by Deborah Friedes Galili

Ohad Naharin's "Hora"
Rachael Osborne and Iyar Elezra in Ohad Naharin’s Hora. Photo by Gadi Dagon.

I first wrote the article below for the Forward last winter, when the Batsheva Dance Company toured North America in three large-scale productions.  Now, right before New York audiences catch Ohad Naharin’s duet B/olero in City Center’s popular Fall for Dance festival, I decided it was time to revisit this piece.

Fall for Dance features an array of internationally-renowned companies, and while Batsheva has boasted a world-class reputation since its inception, its style and structure have changed dramatically over the last few decades.  This article, originally titled “Going Gaga for Batsheva in America,” traces Batsheva’s transition from a strongly American-influenced company to the more distinctive troupe which has captivated contemporary audiences.

Going Gaga for Batsheva in America

Since its first tour of the United States in 1970, Israel’s Batsheva Dance Company has won over American crowds and critics alike with its energetic approach to dance.  At the time, it was, perhaps, a novelty: an Israeli group performing primarily American repertory with unbridled verve and vigor.  But in the past 18 years, the company has become a phenomenon of a different sort.  The Batsheva Dance Company, which is currently crisscrossing North America, is widely recognized as one of the world’s top dance ensembles, featuring audacious choreography with inventive movement.

Founded in 1964 with the financial backing of Baroness Batsheva de Rothschild, Batsheva began as a repertory company in the American mold.  Martha Graham, a founding mother of American modern dance and a beneficiary of de Rothschild’s patronage, served as artistic adviser.  The Israeli dancers trained intensively in Graham’s technique and channeled both their physical power and their emotional passion into some of the choreographer’s most acclaimed works. With many of Graham’s disciples contributing to Batsheva’s repertory, the Tel Aviv-based company was part of American modern dance’s family; New York Times critic Clive Barnes even called Batsheva’s members “the Israeli children of American dance” upon seeing the company’s American debut.

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A Glimpse into the Gaga Workshop

Posted on 07 April 2009 by deborah friedes

Gaga Intensive. Photo by Gadi Dagon.

Nearly every time I have written about Gaga, I have received inquiries from readers about opportunities to study Ohad Naharin’s movement language.   Several people have wondered about attending a Gaga intensive, and now I’m happy to announce that there will indeed be a workshop in Tel Aviv from July 19th-31st, 2009.  Contact [email protected] for more information.

Although I spent most of the summer of 2008 in the U.S., I visited the Gaga workshop for a day and joined participants in their classes.  To get a sense of what might be in store for this year’s Gaga intensive, check out my reflection on last year’s experience, posted below.  My article was originally written for The Winger on July 30, 2008.

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In between packing and tying up various loose ends in Tel Aviv a few weeks ago, I swung by the Suzanne Dellal Center to check out Batsheva’s Gaga intensive workshop.  Eldad Mannheim, who manages the Batsheva Ensemble, had told me it was full, but I don’t think I was prepared for what I saw when I walked into Studio Varda on a Wednesday afternoon.   Dancers had come literally from all over the world – the U.S., Mexico, Italy, Japan, South Korea, and no doubt many other countries – to study Gaga.

The participants had already taken a morning Gaga class by the time I arrived, and now they were busily reviewing material from the daily repertory class in small groups.  On the day I attended the workshop, Danielle and Bosmat first led us through a tight gestural section from Ohad Naharin’s MAX.  After seeing this excerpt not only in MAX but in several performances of Seder, I was quite eager to try my hand(s) at this movement (so to speak).

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