About

Next performances:

Tmu-na Theater: 13/04/16, at 20:00.

8, Shontzino Street, Tel – Aviv

Tickets: 03-5611211, or on the website: "Tmuna"

SKIN, Noa Dar's recent work, is described by the critic Tal Levine, as a “brave step, a challenging and uncompromising piece, which examines the physical and metaphoric boundaries of the body and thereby stimulating thoughts about borders, territory and the delicate layer that protects us, while simultaneously exposing us to harm. Thus, without prettified, Dar draws the choreography of our lives in Israel"

"Skin" ranges between the body's interior space and its external friction's areas. The body placed at the center of an exploratory laboratory which seeking to penetrate through its different layers. The permeable walls of the bodily space, its physical and emotional components – are examined in relation to the exterior space and in a reaction to the presence and contact of others.

In 'SKIN", the spectators are seating in circles around the round performance's ring. A thin layer of cloth indicates the border between performers and spectators, allow them to be mutually exposed.

Click for a video article on 'Skin', created recently by the photographer Shahaf Dekel.

Partners

By: Noa Dar
Premiere: July 17 to 19, 2014, "Warehouse 2" in Jaffa's port, Tel Aviv
Dancers & creators: Noa Shavit, Mor Nardimon, Alon Shtoyer and Efrat Levy.
Present performers: Noa Shavit, Mor Nardimon, Noa Shilo
Original music: Uri Frost
Stage design and objects: Nati Shamia-Ofer
Costumes: Michal Basad
Dramaturgy and lighting design: Yair Vardi
Video creation: Ran Slavin
Photography: Tamar Lam
Graphic Designer: Dorit Talpaz
Production: Shiran Shveka
The creation of “Skin” supported by the Bistritzky Foundation and by aspecial grant from the Rabinovitch Foundation and the Department for the Arts at the Tel Aviv Municipality.

Gallery

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Writing

"Skin” is a boldly expressive work. The dance scenes are powerful, interesting, charged with tension that is created from a dynamic, even ecstatic, common point of view. The skin to skin friction just like the sword to sword friction, results in sparks.
The dancers totally tear themselves apart to the extreme; they perform wonderfully, accompanied by Frost's excellent music which places another layer beneath that which is visible." Ora Brafman, 'Dancetalk'

'Skin' is undoubtedly a brave step. It is an experimental work, challenging and uncompromising. It is a study in movement that investigates the physical and metaphorical boundaries of the body, thus stimulating thoughts about borders, territory and the fine layer of skin which protects us but also exposes us to our vulnerability.
Thus while avoiding self-righteousness; Dar marks the choreography of our life in Israel." Tal Levine, 'Citymouse Online'.

"The hands and legs are spread out, taking pleasure in the maximal exposure of body surface which comes in contact with the air. In contrast, it then tumbles, shrunken to the floor, cruelly beating and flattening the body. A dancer strongly quivers from the insides, as if she's yearning to rid herself of her skin.
A duet of dancers commences as they contract the space between them. Ever attentive to the skin's energy, they then invade each other's territory, embracing one another, as hard as they can, like a skin wishing to be assimilated into another skin.
There are scenes where each one protects his own skin, his territory; scenes of violent clashes of skin-to-skin. The dancers are good, beautiful physical capabilities and they fear not for their body, as they perform so very close to the spectators.” Ruth Eshel, 'Ha'aretz'"

"Dar takes skin as a metaphor for protective boundaries that can be subjected to endless aggression; the analogy is clear but in placing the audience around the performance ring in which the four dancers spar in brutal, unrelenting combat Dar creates a clear division between performance and reality that abstracts the violence without compromising its visceral charge." Nicholas Minns "Writing about dance"

Exposed Skin: Click for an article by Ori Linkinski, published at the Jerusalem Post

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