More Writings

From the Press:

"Eyesaurus – Frida"
Noa Dar, one of the greatest choreographic talents on the Israeli dance scene, lets the forms of Frieda’s figurations step out of the canvass. Noa Dar dose not stage Frieda Kahlo biography: in her piece, the life of Frieda plays a role only as far as it becomes a part of her imagistic oeuvre. A surreal spectacle begins that builds exclusively on body language, occasionally blends in autobiographical texts from Kahlo. The piece alternating between gentle movements and sharply chiseled forms, a quality from which the spectator cannot escape. In the end, partaking of Kahlo’s fate, they themselves become a part of her work.”
Hartmut Regitz, Ballet Int. – Tanz Aktuell”, Berlin. Jan. 99

“…This is much more then an homage’ for a unique artist. It seems to me that Noa Dar succeed not only in bringing some aspects from Kahlo’s life, but moreover, she penetrates into the heart of her art, and manages to transpose some of her familiar plastic images into impressive images of dancing. This combines with an impressive dance-theater, centered around dancers with a strong stage presence… In addition to the wonderfully designed carnival atmosphere, there is a fascinating expression for suffering and love, for beauty and a rich internal world”
Eliakim Yaron. “Ma’ariv”, July 98

" One of the most intriguing and interesting works…An atmosphere of a surrealistic carnival…The personal movement language charged with tension, and run between sharp motions and flow…the dancers interpretation is polished and in high quality… The beautiful costumes are full of imagination…"
Ruth Eshel, "H'Aretz", Nov. 98

“In Eyesaurus there are wonderful exciting moments… From the movement aspect, it is Dar’s best work. I loved the emotional depth of the dancers. It is an exciting work and very much worth seeing.”
Gal Alster. “Zomet H’Sharon” Nov. 98

More excerpts from critics on past works:

“Peeling”, November 96:
“In the color and quality of Dar, there is a connection to the place we live in.
Dar is developing as one of the most original artists in Israel.”
Ruth Eshel, “H'Aretz”

“Dar is an original artist, with a poetic force, leading her group to an artistic perfection."
Yaron Margolin, “Eaton Jerusalem”

“Heads In the Grass", April 94:
"This work is crystallized and has black humor, as usual with Dar's works. The design is beautiful… There is a humanistic saying in this dance which is accompanied by a constant feeling of the absurd".
Gal Alster "Shishi"

"Eino Ela", (Nothing But) Dec. 96:
“The work that most openly states the relations between the political situation and the personal fate is Noa Dar's “Eino Ela”… The dancers moves as forced, hectic, and only when they "die" and serve as the theme and reason of existence for the others, do their body extends in its full length and softness".
Gabi Eldor "Shishi"

"Fragile", July 93:
"Noa Dar’s works demonstrate a clear and independent artistic line…Characterized by a high level of complexity and a idea spectrum of visual images and theatrical means of expression…The dance reaches poetic qualities…" Amir Sendler "Kol Ha'eer"
"There are extremely powerful yet very tender moments in "Fragile"… The effect was riveting not through any didactic line but because of the exploratory dance vocabulary… The dancers gave a remarkable performance that required acrobatic agility, emotional intensity and spontaneity of action- and got them all".
Dora Sowden, "The Jerusalem Post"

"PairImPairIm”, July 93:
"First meeting, strong and right between the audience and the dance, charged
Intimacy, intentional nudity, almost like in a naturalistic theater…The interpretation is close to perfect and the movement material is beautiful".
Dafna Hilsberg Harrari, "Ha'eer"

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