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BATSHEVA DANCE COMPANY

OHAD NAHARIN, Artistic Director

Batsheva's artistic integrity and innovation have earned the company its reputation as one of the most inspirational and sought after companies - a true champion on the global map of performing arts.

 

Batsheva operates throughout the year with its 2 companies and 40 dancers. With 250 annual performances in Israel and around the world, the company is considered Israel's leading cultural ambassador.

Batsheva is applauded worldwide in the most prestigious theaters and festivals; including Lincoln Center, BAM and Jacob's Pillow festivals, London's Barbican Centre, and Paris's Theatre de la Ville.


The company includes dancers from Israel and abroad who are encouraged to affirm their distinct creative gifts either in the rehearsal process or in the creation of their own works during the ongoing Batsheva Dancers' Workshop series.

Many of Batsheva's dancers developed their skills during an extensive training period in the junior company, the Batsheva Ensemble. The Ensemble serves as a greenhouse for the next generation of dancers and choreographers, dedicating the majority of its time to Batsheva's comprehensive outreach and education program.

Batsheva Dance Company was founded in 1964 by Martha Graham and Baroness Batsheva De Rothschild.

 

©Gadi Dagon

BATSHEVA DANCE COMPANY - OHAD NAHARIN

Programs

SADEH21

World premiere: May 25th, 2011, Israel Festival, Jerusalem

 

Choreography : Ohad Naharin In collaboration with Batsheva dancers
Lighting and Stage Design : Avi Yona Boeno (Bambi)
Soundtrack Design : Maxim Waratt
Costume Design : Ariel Cohen
Video subtitle Design : Raz Friedman

Length : 75 minutes

Piece for 17 dancers

Ordered by Luminato, Toronto Festival of Arts & Creativity and The Israel Festival, Jerusalem. Produced by the Batsheva Dance Company with the support of Michael Sela Fund for Development of Young Artists. 

"Sadeh21" resembles Stabley Kubrick's groundbreaking cinematic "Space Odyssey" - but in dance. Naharin gives us a choreographic voyage with cinematic character, an epic-dance expedition. The cinematic choreography takes s through time travel, however "Sadeh 21" is the voyage of the body. The Naharin Odyssey is an evolution of pleasure. The dance materials are emotional, the music is both paralyzing and captivating, and the women are bursting with sensuality. "Sadeh 21" looks and sounds like a slow motion explosion - radiant, dangerous and exciting.

 

 

DECADANCE

Choreography :  Ohad Naharin with the dancers of the company

Original music: Maxim Waratt

Lights and sets : Avi Yona Bueno (Bambi)

Costumes : Rakefet Levi

Length : 75 minutes

Piece for 17 dancers

Selected excerpts from works by Ohad Naharin :

 

       Moshe (1999)

       Zachacha (1998)

       Sabotage Baby (1997)

       Yag (1996)

       Z / na (1995)

       Anaphase (1993)

       Mabul (1992)

       Kyr (1990)

       Black Milk (1985)

 

 

First performed in 2000, Decadance is a celebration of then 20 years of Naharin's work with Batsheva Dance Company. Highlighting many facets of his repertoire, Naharin reconstructs his oeuvre by taking sections of existing works and reorganizing them into a new fresh experience. Decadance offers the possibility to look at Naharin's repertoire, from its most extravagant to its most intimate and heartrending. Decadance continues still evolves to this day.

 

 

"Decadance is not a new work. It is more about reconstruction: I like to take pieces or sections of existing works and rework it, reorganize it and create the possibility to look at it from a new angle. It always teaches me something new about my work and composition. In Decadance I took sections from different works. It was like I was telling only either the beginning, middle or ending of many stories but when I organized it the result become as coherent as the original if not more."

O. Naharin

THREE

 

Choreography : Ohad Naharin

Costume Design : Rakefet Levy

Lighting Design : Avi Yona Bueno (Bambi)

Sound Design & Editing : Ohad Fishof

Music : Bellus: J.S. Bach, Goldberg Variations, performed by Glenn Gould

Humus: Brian Eno, "Neroli"

Secus: Chari Chari, Kid 606 + Rayon (mix: Stefan Ferry), AGF, Fennesz,

Kaho Naa... Pyar Hai, Seefeel, The Beach Boys

Length : 70 minutes

Piece for 17 dancers

 

 

"Three" is made up of three pieces:  "Bellus",  "Humus",  "Secus". In Bellus I enjoy the mathematical logic of Bach's music.  This is the well-known Glen Gould recording of the Goldberg Variations and one of the wonderful things in it is the quiet between the notes.  This quiet is a wonderful place for movement.  When you have quiet between the notes the movement is sharpened and accentuates the compassion of the dancers. Humus is a piece for five women who perform a collection of short segments.  Each time they re-align themselves on stage and begin a new segment.  I was interested by creating an atmosphere which is the opposite of the arbitrariness which I just described.  An atmosphere where very competent and powerful people listen to each other.  Like a Porsche with a very strong engine, running at 40 miles per hour.  It doesn't need to speed fast for you to know that it is a Porsche. In Secus all dancers take part.  I like to play with boundaries.  Passion and extremity,  reduction,  erupting force,  raw meat,  juicy body,  it has the pleasure of the moment, like tasting food.  Ohad Naharin

 


(...) "Bellus", "Humus" and "Secus," each about 30 minutes of exceptionally inventive, thrilling dance. Mr. Naharin's movement vocabulary involves the extreme engagement of the entire body - the 17 dancers (all extraordinary) fling their limbs and let their torsos and backs circle, buckle and dip with maximum energy - along with an equally extreme clarity. Without loosing momentum or verve, every movement looks caught in a freeze frame, an effect that has its maximum impact in the wonderful solos of the opening section, set to Glenn Gould's haunting rendition of the "Goldberg" Variations. R. Sulcas, July 2006, The New York Times

 

 

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