Three – Batsheva Dance Company

Last night’s performance of Three, a piece by Ohad Naharin and danced by the Batsheva Dance Company, was fantastic! It was intriguing and engaging from start to finish, but the last movement, Secus, was by far the most striking and powerful. It contained a duet by two male dancers that was by far the highlight of the evening. I found this portion of the program particularly moving, especially as the duet was followed by a section in which dancers, arranged in lines directed towards the audience, one by one performed movements, returned to the end of their line and were then imitated by the next dancer. The very beautiful duet gave way to this communal ritual of interdependency and vulnerability. It was striking.

Here’s a taste of Three:

Vodpod videos no longer available.

And here’s Naharin writing about Gaga – his movement language.

And for my friend kg, who loves to post puns and play with sayings, and knows something about performance: At a few moments in Secus, the lights go completely out while the dancers continue. So… if a dance happens in the dark, and no one can see it, does it still make for a performance?


2 Responses to “<em>Three</em> – Batsheva Dance Company”

  1. 1 kg February 16, 2009 at 9:24 am

    I’m so excited that you liked the performance. The little piece from YouTube is beautiful and very intriguing. I really wish I could have seen it. (And I’m with you on duets with two male dancers – here’s one I saw in Ann Arbor a couple of years ago (the very first part) and found very memorable —
    As for your question – I may be good with puns, but am terrible at philosophy, and what you ask is actually a very profound question – and much more relevant to my dissertation than the tree issue :). Tentatively, I want to say “yes,” but with the proviso that the lights do come back up…

  2. 2 withastone February 16, 2009 at 9:39 am

    I saw the duet in the Stephen Petronio performance with LB and liked it a lot. I remember distinctly how it explored different relationships between the two dancers. At some points they danced independently, at some points cooperatively, but still self-supporting. At other points one or the other was the support (in that, were he removed, the other could not do the same movement) and at times they did movements that would have been impossible if either dancer were removed.

    The lights did come back up, but my eyes couldn’t tell if the dancers just moved to their next positions, or actually continued with the dance in the interim. I suspect (and hope) it was the latter, which is pretty interesting.

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