Achilles' Tendon – reviews

"Achilles’ Tendon“ puts Noa Dar in the front row of dance creators in Israel. This is a mature work of art. Its movement language is original and its human contents speak to all of us. While only an hour long, this work holds a full world. The longing for human contact and touch receives hear a very warm and exciting expression”
– Elyakim Yaron, “Ma’arive", 1999


“The innocent simplicity becomes a series of exiting, rapid encounters, demonstrating dazzling physical control”.
– Gabi Eldor, “Ha’ir”, 1999


“In“Achilles’ Tendon,” Noa Dar turns the tables. She puts movement at the center, as the driving force not only of the body, but of the soul as well. The result is a very moving dance, deciphering the essence of dance and the secret of its everlasting success.”
– Zvi Goren, “Metropolis”, 1999


“Dar seems as a strong candidate to enter in the future to the “super team” of creators deserve the definition of “inventors of language in dance” in the world’s dance scene, (together with Martha Graham, Pina Baush, Bill Forsyth). […] Dars’ movement language dose not look like nothing ells […] also the way that Dars’ works holding the stage (the design, the transitions between the scenes, the mixtures of text and theatrical parts, the preoccupation with concrete themes) and the spectator’ eyes- is unique only to her”
– Saar Dayan, "Ma’ariv", 1999


“Noa Dar is a well promising young Israeli choreographer, who had come last year to Japan in order to present the part of “Eyesaurus Frida” for the WDA, and left an excellent impression of her steady talent.

'Achilles’ tendon” is the piece full up with fresh and young energy. In the darkness with the beautiful melody and the sound of a sigh, the man and women present a duet with an intense movement. It is unrefined but a very dense duet, which is an explosion of an emotion of adolescence, seeking for contact with others. Later the movement of the duet is developed to an even more violent movement.

The solo of the girl to a sound of piano under the soft light, is expressing very well the hesitation and struggle of the inner world of human that tries to face the outer world. The following duet is also composed by a high intense movement, but now we can see that the intense of trust and affection have already appeared between the couple.

The strong awkward movement with the feeling of anxiety and rejection at the start, gradually raised the subject of communication with showing a certain harmony in the sparkling energy. The choreography is in a free style created by a development of the movement in daily life. It succeeded to make the best availability of the vivid individualities of each dancer.

They are dancing bare feet. Their energy is full of emotion of today’s young generation who are seeking for a touch of each existence.”
– Akiko Tachiki, “Danceart”, Japan, 1999


“Achilles is composed by interesting movements of solo and duo. The dancers are able to manage not only the classical movements. Their basic stance is a low center of gravity and they bend down the upper part of their bodies. They created unique movements from the consciousness between right hand and right leg . Slow movement, like a wave, and some violent expression…”
– Koujin Kado, Weekly On Stage, Japan, 1999


“Achilles’ tendon” presented the endless energy and speed by the dancers whose body is very massive.”
– KH ,Dance Magazine, Japan, 1999


The Austrian premier of the Noa Dar dance group, which included the creations “Achilles’ Tendon” (1999) and “Strange” (2000), demonstrated once again the vital movement and choreography culture exists in Israel.

Dar uses clear compositions and a theatrical stage design. Her musical choices is free and associative. The movement’s design is rich and filled with associations. Dar’s interest, in both of her creations, in the actual subject of the “human body”, and succeeds in building well-directed dance creations around it. 'Achilles’ Tendon” also touches the conflict between individual and collective, and between man and woman. “Strange” deals in a theatrical-comical way with the connection between dance and thought, with the dominant performance of the actor Gal Zaid.
– Andrea amort, Vienna, 1999

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