lior Tavori -And over again, Mars. Suzanne Dellal, May 23

'Two creations were presented side by side, each with its own artistic climate, yet both offered layered works, representing Tavori's  thinking process, which slowly reveals itself.

The first, And Over Again, is a duet, danced by Shahar Brener and Noam Segal, both dressed in mundane clothes, buried under a pile of what seems to be red and black boxing gloves while an old kitsch song carries a message of peace that may arrive tomorrow. Or the next day… 

 What a chilling moment when current reality meets head on a stale yet popular military-march tune of yesteryears.

The duet itself steers away from national issues and concentrates on more intimate issues of two torn souls- most likely post traumatic- searching for elusive moments of human contact, well illustrated by sensitive physical manifestations interrupted by   moving the limbs in staccato, on a verge of a breakdown.

Both dancers are impressive but the female role seems to carry more weight. The work which is well composed follows a distinct artistic path impressive in its details, being carried with touching modesty.   

MARS which follows, starts as a rather simplistic male unit of four vital male dancers flexing their muscles, showing off some jumps in a athletic style.  When they move in tight formations they tend to favor symmetrical compositions. Yet soon, the more they play around  together, their individuality comes across quite clearly. The scent of self awareness with a faint flavor of parody  spreads, mixed with dry humor in small measures.

As time passes, more and more sophisticated nuances reveal themselves and the fiber which holds the core of the artistic structure is being exposed slowly and reveals bright inventive gestures and compositions.  

The unequivocal high point of the evening was an unexpected rendition of The Dying Swan,  an iconic short classical ballet of the Romantic genera, choreographed by M. Fokin for the legendary Anna Pavlova, which culminated the romantic notion of spiritual, unattainable femininity. Yet here, one of the dancers gives a farfetched rendition, crude and as far away from the sublime, still challenging solo. Eaven so, some moves and gestures by the strong dancer fleetingly refer to the delicate original creation. One may take it as a satire, as a disrespectful stance, but although it definitely a tongue  in the cheek  scene, it was totally within restrained humor of Tavori's  lexicon.

The finale which closed the evening was a twirling storm of powerful moving circle by the quartet which swept the audience and gave the dancers justified standing ovation.