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BatSheva

 
 

Season 2013-14

The Hole by Ohad Naharin

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The Hole by Ohad Naharin

The Hole, Ohad Naharin's latest creation for Batsheva was created for the spacious Varda Studio in collaboration with scenery and stage designer Zohar Shoef. Additional collaborators are lighting designer Bambi (Avi Yona Bueno), and costume designer Ariel Cohen. The soundtrack is edited and designed by Maxim Waratt.

 

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Decadance by Ohad Naharin

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Decadance by Ohad Naharin

“Naharin's choreography is so rich and was danced by his company with such raw energy that one left knowing they had witnessed something spectacular”.
(Charelston Post and Courier Reviewer, May 27, 2007)

'Decadance' brings together memorable and favorite segments of Ohad Naharin's creations from the last 20 years, is constantly updated and offers a fresh look at choreographic materials performed by Batsheva. 

 

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Shula  by Danielle Agami and Uprising by Hofesch Shechter

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Shula by Danielle Agami and Uprising by Hofesch Shechter

Batsheva Ensemble launches an evening introducing two remarkable dance pieces: World Premiere – Shula by Danielle Agami and Uprising – the renowned work by Hofesch Shechter.

Shula
tries on new hats – Like all women Shula knows she has to shed and change her skin as needed, to offer a proposition, a view and few question marks facing anyone in her way. In Uprising seven men emerge from the shadows to bombard the stage with furious energy, bonding and sparring, making up and falling out. This highly charged work is set to a throbbing percussive score also composed by Shechter.

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  Decal'e by Ohad Naharin

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Decal'e by Ohad Naharin

"Breathtaking event"  (HaBama)

A wonderful opportunity to encounter the many different faces of Naharin and Batsheva in a performance suited for the whole family. Decal'e is based on Deca Dance, composed of memorable and loved excerpts from works by Ohad Naharin.

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Sadeh21 by Ohad Naharin in collaboration with Batsheva dancers

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Sadeh21 by Ohad Naharin in collaboration with Batsheva dancers

"Liberation of feelings… electrifying bodies… tuned like a fairytale orchestra, remarkable precision - and it's as beautiful as a dream" (Ynet, May 27, 2011).

Since its premiere at the Israel Festival, Jerusalem in 2011, 'Sadeh21' has been toured extensively around the world and been praised by both audiences and critics alike. The piece, created in collaboration with Batsheva dancers returns this season and will be presented in Tel Aviv

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MAX by Ohad Naharin

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MAX by Ohad Naharin

"There isn't a moment of rest; it's a succession of climaxes that leave you at the end of the performance stricken and amazed. To a large extent MAX is a climax of Naharin's current creative chapter, a perfection and distillation of the search and research laboratory he wandered through in previous works." (Merav Yudilovitch, Ynet)
"The excellent dancers, whose hypnotizing presence leaves the audience breathless." (Gilad Reich, Ahbar on-line)
 

Ohad Naharin's chamber creation continues exploring and researching the origin and essence of movement.

For the first time since its creation, MAX will be performed by the Batsheva Ensemble. Seldom does Naharin contribute a full length piece to the Ensemble dancers, a troupe that has evolved into a professional, self-sufficient, company, with international tours of their own. "The Ensemble dancers form a wonderful group, that I deeply love. MAX enables me to undergo a significant process with it," says Naharin. The group on stage, allegedly tightly defined, systematically defeats our yearning for identity and recognition mechanisms, because its’ gestures are universal and specific at the same time.

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Kamuyot by Ohad Naharin

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Kamuyot by Ohad Naharin

"Both moving and memorable"
(New York Times, March 5, 2008)

Ohad Naharin's 'Kamuyot' is immediate and toys interactively with the conventional relationship between audience and performers. It is intense, funny, poignant, inventive and powerful; unhindered by the barrier of words, it inspires dialogue and expression in the first universal language - movement and dance.

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Mamootot by Ohad Naharin

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Mamootot by Ohad Naharin

"'Mamootot,' in its spare, reserved, sexual and literally touching way – is thrilling" (The New York Times)
"A masterpiece" (Ha'ir)
 

 Naharin's intimate creation became a timeless classic, regularly performed in the world's leading festivals and venues. In "Mamootot" the audience sits on four flanks – this unique sitting arrangement changes traditional stage-audience interaction creating an intimate, exciting experience.

Ohad Naharin: "Mamootot for me a is research of new possibilities of movement, structure, organization, timing, tension, relationship of audience/performers, humor, repetition, dimensions, virtuosity, stillness, emotional development, sexuality, slowness, unison, speed, improvisations, overstatement, understatement, places I have never been before."

 

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Naharin’s Virus - Revisited

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Naharin’s Virus - Revisited

"… no one can be immune to the emotional charge of the choreography… [the] calligraphy of the body is stunning…" (New York Times)

"What a splendid Virus… as powerful as the eye of the storm… the best show in town." (Ora Brafman, Jerusalem Post)

 Naharin's 2001 celebrated creation makes use of Peter Handke's play, "Offending the Audience". Handke, the Austrian writer and playwright, is one of the most esteemed German writers of the second half of the 20th century. For Naharin, the play rejects all that is conventional in theater, and takes a saw to the branch it sits on. In the process a kind of void is created, an interesting field to move in.

Naharin created "Naharin's Virus" in collaboration with the Company dancers. Karni Postel was the musical consultant, and the score includes original music by Karni Postel, Habib Alla Jamal, and Shama Khader. The work won Ohad Naharin New York’s Bessie Prize in 2003.

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