Random Shots
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DAVID HALLBERG |
Two random shots…
The theatre in Tokyo, called Bunka Kaikan. We never figured out why the seats are different colors. Art? or Random placement?
Passed out or texting on on the subway, a Japanese past time.
Archive for July, 2008
A Glimpse into the Gaga Workshop
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DEBORAH FRIEDES |
The Batsheva Dance Company in Naharin’s Virus. Photo by Gadi Dagon
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). The workshop participants had already learned the speedy sequence, and while it was challenging for me to pick up the exact gestures during Danielle’s review, I enjoyed working with some of the more qualitative instructions as she picked apart certain motions. With precise instructions about our dynamics, focus, and intent, the movement became richer; nothing less than full commitment to each moment was acceptable. We also worked on moving together as a group in a tight formation, watching and sensing each other to maintain the unison that has often impressed me when I have seen the company.
After MAX, we switched gears and turned to phrasework from “Humus,” a woman’s section from Naharin’s Shalosh. Now tinier gestures were juxtaposed with gloriously full-bodied dancing, motion was countered with stillness, and quasi-balletic poses were contrasted with quirkier movements. As in Gaga classes, we were often instructed to connect to pleasure: enjoy the feeling of our bodies as we spring into the air, find a feeling of ultimate indulgence as we sit back and cross one leg over the other. And once again, even as we surrendered individually to the fullest sensation possible, the unity of the group was key.
I thoroughly enjoyed learning this repertory, but the highlight of the day for me was the Gaga method class. I had seen this on the schedule and wondered just what was Gaga method. It turned out to be an opportunity to more thoroughly explore a few concepts outside of the typical 1-hour Gaga class with additional explanation from the teacher and discussion with other students – almost a meta-Gaga, if you will. On this occasion, Ohad Naharin himself taught the class, guiding us through an examination of the physical differences between joy and pleasure before leading us through an investigation of how to connect to a sense of plenty of time even while moving at an ever-increasing speed. We also worked as a full group and in pairs, testing our ability to quickly pick up and interpret movement. Finally we sat down and wrapped up our session, asking questions and sharing our thoughts. I walked away with much more to think about. Besides mulling over some of the recurring ideas and images in Gaga, I realized a major reason why I have been so drawn to it throughout my time in Israel: I’m a researcher, and each Gaga class is an opportunity to research movement. It’s also no wonder that I loved the Gaga method class. At some point, every researcher steps back from data collection and moves on to analysis, and while I have certainly spent a lot of time processing the classes I have taken, I have rarely been able to analyze the concepts from and experience of Gaga with other students - and with Ohad. What a way to cap off 10 months in Tel Aviv!
Recent Posts by deborah friedes
vaildance.org
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CARLA KORBES |
Hello everyone,
So I promised some photos from Vail and news when I got back to Seattle next Monday. However, as you all know, technology is amazing these days and you can see everything almost instantly on the internet.
That’s why my post is a bit sooner (which is a great thing!)
Damian Woetzel has posted many pictures from the opening Gala at the Vail Dance Festival website. The pictures are from Erin Baiano, and they are beautiful. He also posted videos on YouTube. Photos and videos can be seen at vaildance.org and on Flickr.
Damian will be posting new photos everyday, so everyone can experience this incredible Festival.
I danced the opening Gala on Sunday and I will be performing again tonight with PNB, and so far my back is doing great! I will write more details about this trip when I get back to Seattle. So far it has been magical to be back on stage performing with Tyler Angle, along with the amazing Philip Glass and Wendy Sutter.
Look for my post next week with more updates and my photos from the Festival.
Recent Posts by carla korbes
To Wear White or Not?
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CANDICE THOMPSON |
Recently, I have been working on some ivory long unitards for Morphoses. I am not the costume designer, I am just assisting in putting some of the construction together as there is not a formal costume shop. So what I mean to say is, they will be more than just ivory unitards. This is just the base from which the costume will be built on.
But looking at yards and yards of beautiful ivory fabric on my cutting table got me to thinking about the ambivalent nature of the relationship us dancers have with this seemingly simple material. Ballet in general, is white. There are the “white” ballets. Often white is the first color of leotard any child is required to wear. Princes must wear white tights! We should be so used to it and so comfortable with our signature color…….so why does it often inspire such dread?
Obviously, there are the issues of body and presentation. The fear it will make us look bigger. But white, while unforgiving, can be slimming in its own simplicity of so clearly showing line and definition. How do you feel about wearing it? Are you one of those dancers who is more comfortable in nude than white? If you have been wearing it forever, do you still sigh and think about it before putting on those white tights or that Apollo dress?
I would love to know and also set the record straight as I see it. Ballet uses white (and ivory) often for a reason: it looks beautiful onstage and in general, really does flatter all. So embrace it if you get the chance!
Recent Posts by candice thompson
Legs in the Earth and the Sky
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PATRICIO MELO |
The man dreams “TO FLY”. The dancer already did and it is wonderful to have the opportunity to keep those moments forever.
Ballet de Santiago.
Alexander Zaitsev (Guest dancer).
Ballet de Santiago.
Julieta Paul (Guest dancer).
Luis Ortigoza Principal Stars dancer Ballet de Santiago.
Luis Ortigoza Ballet de Santiago.
Maite Ramirez Ballet de Santiago.
Marcela Goicoechea Principal Stars dancer Ballet de Santiago.
Marcela Goicoechea Ballet de Santiago.
Alexander Zaitsev (Guest dancer).
Ballet de Santiago.
Luis Ortigoza Ballet de Santiago.
Luis Ortigoza Ballet de Santiago.
Ballet de Santiago.
Ballet de Santiago.
Luis Ortigoza Ballet de Santiago.
Ballet de Santiago.
Recent Posts by patricio
Horyuji
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DAVID HALLBERG |
I love when a museum seemlessly connects art with an amazing building to house it in. This was never more present than the Horyuji Gallery at the Tokyo National Museum, which is a stones throw from the theatre in Ueno Park, where we perform.
The artictect, Yoshio Taniguchi, just completed the $858 million MOMA renovation in NYC.
Forgive this post for being a little too pic happy but…
To enter the building you walk on a concrete slab over shallow pool of water
A 7th century ceiling fixture hanging from a wrapped staircase. A little like…
Matisse’s La Danse at MOMA, which received a lot of criticism to the museum for placing such an iconic work in a back staircase.
The museum houses 7th and 8th century Buddhist artifacts from Nara, which is a city outside Tokyo. Here are masks people wore for special ceremonies… Almost like the movie, Return to OZ… anyone?
I can’t think of a better place to wait.
