Come Lay Down – Reviews

“I came out amazed and absolutely in awe from what I saw. In the performance, as in a laboratory, these two talented and daring creators conducted experiments on the living human body, breaking all barriers. Everything is exposed. This exceptional work is a hymn to man’s devotion to life, to his desire to be healed, to the willingness to suffer in order to be cured, to the vulnerability of the body, and at the same time to its resilience, as well as a defiant protest against its objectification.”
 – Ruth Eshel, Dance Diaries, October 2021


“Her exposure is slow and painful and does not spare any flaw or intimate detail of her body, her soul, which is the laid-bare soul of us all. The work is hard-hitting and direct, not pitying. Performed wonderfully by Noa Dar, with impressive physical control that shows us that despite all this existential depression, the body, permeated with pain, is disciplined, alive, and kicking.”
 – Tami Katz Luria, Culture Universe (Yekum Tarbut), March 2022


"The performance 'Come lay down' invites the spectator to observe, explore and experience the gaps between the private and spiritual to the institutional bureaucracy. While boundaries of body and mind are examined – this is an opportunity to become a close witness to real situations that are seldom discussed. The creator's choice to concentrate on the gap between the perception of the self, body and mind, as something unique and liberated, to the perception of the medical establishment, that treat the person as an object devoid of spirit – makes the performance one that everybody can identify with. 

There is fertile ground here for many associations, memories, questions, examinations of boundaries and insights. Especially today, when we are all captives of the Coronavirus, questions regarding personal freedom and the way souls are treated – are so relevant. This is a unique and moving performance. Vote with your feet.”
 – Nira Perry, Salona, ​​February 2022


“The dynamic created between the body looking for solace and the words that are supposed to ameliorate it, is revealed before us as one that reduces and levels it out, as do other performative events that are experienced as hostile towards the person whose body is being explored and examined. Correspondingly, the audience’s viewing experience is employed as a significant dramaturgical element in the anguish that the work provokes. The presence of the body in the tension between the two opposing frequencies at this moment, reveals precisely the similarity between them, and especially the speed and ease with which the act of treatment becomes a practice of control.”
 – Idit Suslik, The Contemporary Eye, November 2021

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