About
“Achilles’ Tendon” returns to the most primary and intimate – the body.
The body placed at the center of the stage and the dancers are attentive to its needs and desires. The dancers let the body lead, they learn its impulses, they charge and empty it with different energy and substance.
They try out the body’s reaction to touch, to weight, electric current and, and breathing. In this work, the body is the subject – it is not an object or vehicle by means of which a story told or an idea communicated. It is the story itself.
From the preoccupation with the physical – a complex world of beauty is revealed; desires and deficiencies, strength and vulnerabilities, limitations and freedom.
Partners
By: Noa Dar
Dancers: Assaf Shatz, Michal Duvdevany, Shelly Kling, Michal Mualem, Sahar Harari, Michal Arkind
Stage and costumes design: Atalia Ben-Menahem
Sound design: Udi Kumeran
Lighting design: Amir Brener
Photography: Tamar Lamm
Duration: 60 min.
Premiere: Curtain up festival, Tel Aviv, November 1999
Writing
“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”, January 2000
“The innocent simplicity becomes a series of exiting, rapid encounters, demonstrating dazzling physical control”.
Gabi Eldor, “Ha’ir”, December 99
“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”, December 99
“…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“
