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Batsheva Dance Company - The Hole by Ohad Naharin, 2013
01:09

Batsheva Dance Company - The Hole by Ohad Naharin, 2013

Performed by 18 Batsheva Dance Company dancers 60 minutes without intermission The Hole, Ohad Naharin's creation for Batsheva was created for the spacious Varda Studio in collaboration with scenery and stage designer Zohar Shoef. Additional collaborators are lighting designer Bambi (Avi Yona Bueno), and costume designer Ariel Cohen. The soundtrack is edited and designed by Maxim Waratt. Video Clip: Director and Editor - Roni Azgad Cinematographer - Yaniv Linton Lightning Design: Avi Yona Bueno (Bambi) Space and Stage Design: Zohar Shoef Costume Design: Ariel Cohen Soundtrack Editing: Maxim Waratt Music: Rephase - Team Doyobi Akvaryum -- Gevende Diner - Angelo Badalamenti Radio -- Autechre IV VV IV VV VIII - Autechre La Sultane: Gravement - Frsncois Couperin THE HERS - WE ARE OVER THE KOP Affletic - Jus Wan Starethrough -- seefeel By The Sea - Ennio Morricone Shoshana and The Pigs - Maxim Warrat Assistant to Ohad Naharin and Maxim Waratt: Guy Shomroni Graphic Design: Roni Azgad Space and Stage operation - TechArt, Stage Technologies ltd. Warm thanks to Maya Dunitz for all her help. Special thanks to the Kenny family and Eastronics for their friendship and support in maintaining Varda Studio in memory of Varda Kenny. World Premiere: April 3 , 2013, Varda Studio, Suzanne Dellal Center, Tel-Aviv . Original Cast: Stephanie Amurao, William Barry, Shachar Binyamini, Matan David, Omri Drumlevich, Bret Easterling, Iyar Elezra, Chen-Wei Lee, Eri Nakamura, Ori Moshe Ofri, Shamel Pitts, Oscar Ramos, Nitzan Ressler, Ian Robinson, Maayan Sheinfeld, Bobbi Jene Smith, Zina (Natalya) Zinchenko and Adi Zlatin.
"Harry" (Excerpt)  created by Barak Marshall for Les Ballets Jazz de Montreal
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"Harry" (Excerpt) created by Barak Marshall for Les Ballets Jazz de Montreal

For this new creation, made-to-measure for the BJM dancers, the Israeli-American choreographer Barak Marshall was inspired by the inner battles we all wage. "Life is a constant struggle," he says, "in which we are continually faced with conflicts with regard to culture, gender, species." Between men and women, in particular, compromises must be made to achieve a balance. This piece revolves around the character of Harry, who struggles to overcome forces both physical and existential. Teeming with energy, the work underscores a recurrent theme in human interactions: conflicts and our ability to overcome them. Set to a score combining jazz, Israeli folksongs and traditional music, this new opus is imbued with hope and humour, alternating group sequences, trios and duets in a fabulous extravaganza of dance. A work dedicated in the memory of Marjorie and Gerald Bronfman, major partners of Les Ballets Jazz de Montréal. A production of BJM -- Les Ballets Jazz de Montréal, in coproduction with National Arts Center (Ottawa), The Joyce Theater Foundation (New York), Segal Center for Performing Arts (Montréal), City of Montauban during Danse en PlaceS Festival. Choreography: Barak Marshall Assistants to choreographer: Inbar Nemirovsky, Osnat Kelner Dancers : Antonios Bougiouris, Christina Bodie, Céline Cassone, Kevin Delaney, Alyssa Desmarais, Youri de Wilde, Alexandra Gherchman, Alexander Hille, Morgane Le Tiec, Andie Masazza and Brett Taylor Musics: Tommy Dorsey, Taraf Ionel Budisteanu, Balkan Beat Box, The Andrews Sisters, Anatol Stefanet, Dejan Petrovic, Sidney Bechet, Warsaw Village Band, The Hungarian Quartet, Goran Bregovic, Maria Callas Wayne Newton Lighting: Daniel Ranger Costumes: Anne-Marie Veevaete World Premiere: Montauban, France, July 2012 Length: 40 minutes
HOUSE by - L¬E¬V Sharon Eyal | Gai Behar
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HOUSE by - L¬E¬V Sharon Eyal | Gai Behar

Follow our new YouTube channel - Sharon Eyal Dance https://www.youtube.com/channel/UCUWMQ-2tUgWPcHYewVjUq4Q music by Ori Lichtik www.sharoneyaldance.com Video by: Amit sides | Kobie Flashman | Ascaf Avraham Sharon Eyal Creator Sharon Eyal was born in Jerusalem. She danced with the Batsheva Dance Company from 1990 until 2008 and began choreographing within the framework of the company's Batsheva Dancers Create project. Eyal served as Associate Artistic Director of Batsheva between 2003-2004, and House Choreographer of the company between 2005-2012. In 2009 Eyal began creating pieces for other dance companies in the world: Killer Pig (2009) and Corps de Walk (2011) for Carte Blanche Dance of Norway; Too Beaucoup (2011) for Hubbard Street Dance Chicago, and Plafona (2012) for Tanzcompagnie Oldenburg, Germany. In 2013 Eyal launches L-E-V with her long-time collaborator Gai Behar. This October, they premiered Untitled Black in collaboration with the Goteborgs Operans Danskompani in Gothenburg, Sweden. Eyal is the recipient of numerous awards, including the 2004 Ministry of Culture Award for young dance creators and the 2009 Landau Prize for the Performing Arts in the dance category. In 2008, she was named a Chosen Artist of the Israel Cultural Excellence Foundation. Gai Behar Creator Gai was a notorious mover and a shaker of Tel Aviv's live music, art and nightlife scenes from 1999 till 2005. Gai joined Sharon in co-creating Bertolini in 2006 and has collaborated along with Ori Lichtik on the creation of Sharon Eyal's choreographic works ever since. Ori Lichtik Sound Artist Ori Lichtik is a multifaceted musician, drummer and creative DJ. Since their first collaboration on Bertolini, Lichtik has created alongside Gai and Sharon throughout the choreographic process, reflecting off of the dancers' movements, and as often inspiring and prompting them with the tone and pace of his percussive sounds and rhythms. The compositions result in precise sets that structure the works. Each live show is then improvised with fresh layers of digitally manipulated effects, creating a unique sound experience for every event. One of the founding fathers of the techno scene in Israel, he has created, produced and spinned musical productions, techno raves and various other music and performance events since 1996. During the last decade Lichtik has taught and coordinated the DJ Department of Muzik, college for musical productions.
Emanuel Gat Dance - The Goldlandbergs [Excerpts]
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Emanuel Gat Dance - The Goldlandbergs [Excerpts]

A work by Emanuel Gat. "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity.” - Glenn Gould Choreography created in collaboration with and performed by: Hervé Chaussard, Aurore Di Bianco, Michael Löhr, Pansun Kim, Philippe Mesia, Geneviève Osborne, François Przybylski, Milena Twiehaus. Soundtrack: "The Quiet in The Land", prepared and written by Glenn Gould. Additional music: J.S.Bach, Goldberg variations. Piano: Glenn Gould. Stage and lights design: Emanuel Gat in collaboration with Samson Milcent and Guillaume Février. Sound designs: Emanuel Gat in collaboration with Frédéric Duru. Production: Emanuel Gat Dance Co-Production: Festival Montpellier Danse 2013, Théâtre de la Ville, Paris, deSingel- International Art Campus, Anvers, Lincoln Center Festival 2014 New York, CCN Roubaix Nord-Pas de Calais Carolyn Carlson. With the support of Conseil Général des Bouches du Rhône and Fondation BNP Paribas. "The Goldlandbergs" is the story of a family. Less a story of factual narratives, but more of a metaphoric comment on life through the intimate glimpse at the complex nature of human relations. The choreographic score stands as a threshold to the quiet ecstasy of individuals engaging with each other. Not aiming to reproduce the experience of reality, the work uses structural clarity immersed in a spontaneous way of being, proposing various observations on social structures and the way they effect individuals. "The Goldlandbergs" exploits the contrapuntal essence of choreography, in order to generate numerous possibilities allowing both performers and audience the freedom of artistic choice and interpretation. The soundtrack used, is an overlaying of two distinct scores: "The Quiet in the Land", a radio documentary created by Glenn Gould in 1977, and excerpts from Bach's "Goldberg Variation" played by Gould himself. Described as oral tone poem, sound documentary or contrapuntal radio, "The Quiet in the Land" was the last of three such documentaries known as "The Solitude Trilogy" produced by Gould for the Canadian Broadcasting Corporation between 1967-77. Gould conceived these documentaries as musical compositions. A multi-layered contrapuntal structure of lines of speech, music and ambient sound, “The Quiet in The Land” is a complex and dramatic montage resembling a fugal form. A kind of music of the human voice, it combines ideas and emotions, interpretation and imagination, weaving them together in a variegated, cyclical, autonomous media reliant on electronic sound waves for transmission. Gould conceived of "a form which expresses the limitations of form. Which takes as its point of departure the terror of formlessness". This intense texture stretches the ear and mind beyond normal expectations of comprehensibility, it can be perplexing at first and yet through close listening, it reveals remarkable depth and subtlety. "The Quiet in the Land" is a Portrait of the Mennonite community at Red River, Manitoba in northern Canada. A religious group long separated from the mainstream, and how they are coping with the increasing strains and pressures that the Twentieth Century has placed on their community. It is constructed out of nine interviews, tapes of a church service, rehearsals by the Mennonite Children's Choir, and other sound effects and music. This complex and thorough portrait touches directly issues, challenges, and conflicts, which are timeless, mainly the search for an effective, but perpetually delicate balance among opposing trends, influences, principles, and goals. It looks into themes such as separateness; materialism; fashion; complexity of life; faith; reluctance to question one's own culture; appearance; moderation; technology; theology; philosophy; humanism; isolation; conflicts; challenges; splits; unity; peace position; social concerns; politics and the arts. This rich and dynamic sound scope is carefully layered in juxtaposition against Gould masterful recording of the Goldberg Variations from 1981, a few months before his death. The Aria (both the one opening the cycle and the one closing it), as well as some of the variations, are weaved into the dramatic textual environment, counter-pointing, enlightening and referencing it. It is an examination of the delicate and charged territory, which lies between the auditory and the visual, the sonic and the kinetic, the verbal and the sensory. "The Goldlandbergs" uses choreography as a method of organizing and articulating thought through the exploration of the complex and dynamic webs of human relations. It looks at people, observes their conduct and behavior, attempting to unveil their motives and the forces which rule them.