{"id":3385,"date":"2021-06-28T07:36:26","date_gmt":"2021-06-28T04:36:26","guid":{"rendered":"https:\/\/dancetalk.co.il\/?p=3385"},"modified":"2021-06-28T07:36:26","modified_gmt":"2021-06-28T04:36:26","slug":"the-four-seasons-choreography-itzik-galili-world-premier-at-tlv-opera-june-25","status":"publish","type":"post","link":"https:\/\/dancetalk.co.il\/?p=3385","title":{"rendered":"The Four Seasons. choreography-Itzik Galili. world premier at TLV Opera. June 25."},"content":{"rendered":"\n

' Israeli choreographer Itzik Galili, a former Batsheva and Bat-Dor dancer , moved to the Netherlands \u00a0three decades ago and\u00a0 founded there his first dance company. He soon flourished and became recognized as a talented artist with prestigious international career. <\/p>\n\n\n\n

The\nFour Season production he initiated, is a joint effort hosted by the Opera ,\naccompanied by the Israel Symphony Orchestra Rishon Le-Zion and an ad hoc cadre\nof 10 dancers, assembled by Galili while he was stranded here during the\npandemic.  <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

This\ncrucial year which affected and scarred most of us plays a major role in the artistic\nfabric of his latest creation premiered this week. I seems like Galili had decided\nto challenge Vivaldi's most beloved creation for four violin concerti known as\nThe Four Seasons, and by  doing so, rejuvenated\nhimself. <\/p>\n\n\n\n

It\nwas a bold move; some will call it Huzpa, to intertwine his own verbal phrases\nwhich at times, overrode the music with cogitative and political texts, between\nthe musical phrases.<\/p>\n\n\n\n

It\nturned to be a fascinating controlled friction between the early eighteen\ncentury music  and contemporary dance, a confrontation\nbetween the music's subtext derived from the written sonnets concerning nature\nwhich Vivaldi strived to express, and Galili's attempt to reveal another layer\nof the dance, beyond more traditional corporal means.   <\/p>\n\n\n\n

By\ndoing so, Galili followed the raison d'\u00eatre of Vivaldi. He relies on the music,\nbeing well aware of its cultural roots, and used mainstream contemporary dance\nas the leading artistic genera of his work, and manipulated it for his needs.\nThe cultural subtext burst in small manifestations, some barely noticed of\ncourt dance split-seconds gestures of bowing down, or several moves that refer\nto folk dance steps such as circles which brings to mind the Hora, where people\n holding hands execute simple repetitive rhythmic\nsteps with accelerating energy in line or circle formations..  <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Galili,\nchose right, knowing he can trust his accumulated knowledge of practice of his\nart.   With assured hand he controlled well the\nfluency in which his group compositions assemble, flip, disintegrate and\nreassemble the fragments in new formations, shifting focal points without\nlosing the dance's main artistic core.  <\/p>\n\n\n\n

Using\ntext in dance is not new.  The challenge\nis not the verbal component, but its content, which was quite provocative pertaining\nto fear, pain and frustration which reflected our current times and our brittle\nfuture. The upcoming of our allocated time was verbalized:  'no more seasons!', 'in the future time will\nexpand, a moment will be like an hour\u2026people will amputate their limbs\u2026in the\nend, suicide will become a prevalent death choice' . The morbid messages could\nnot erase many attractive dance moments, which were brilliantly lit by the\ntalented designer Nadv Barnea that managed to reveal that, for Galili,\nperception of time is personal. For Vivaldi the perpetual passage of time is divine\npoetry.<\/p>\n","protected":false},"excerpt":{"rendered":"

' Israeli choreographer Itzik Galili, a former Batsheva and Bat-Dor dancer , moved to the Netherlands \u00a0three decades ago and\u00a0 founded there his first dance company. He soon flourished and became recognized as a talented artist with prestigious international career. The Four Season production he initiated, is a joint effort hosted by the Opera ,…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[827,895,412,897],"_links":{"self":[{"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/posts\/3385"}],"collection":[{"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3385"}],"version-history":[{"count":1,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/posts\/3385\/revisions"}],"predecessor-version":[{"id":3388,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/posts\/3385\/revisions\/3388"}],"wp:attachment":[{"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3385"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3385"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3385"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}