{"id":3401,"date":"2021-07-26T21:14:19","date_gmt":"2021-07-26T18:14:19","guid":{"rendered":"https:\/\/dancetalk.co.il\/?p=3401"},"modified":"2021-07-26T21:14:19","modified_gmt":"2021-07-26T18:14:19","slug":"vertigo-dance-company-pardes-suzanne-dellal-july-22","status":"publish","type":"post","link":"https:\/\/dancetalk.co.il\/?p=3401","title":{"rendered":"Vertigo Dance Company- PARDES. Suzanne Dellal, July 22."},"content":{"rendered":"\n

photo: Elad Debi, Avi Luski<\/p>\n\n\n\n

<\/p>\n\n\n\n

Artistic\ndirectress of Vertigo, Noa Vertheim, added another original creation to her long\nline of dance works dealing with spiritual content – as well as environmental\nand social issues- often referring to various shades of faith along the way.\nFortunately, she wraps her investigative process with rather vague abstract\nbody manifestations, which perfectly fit contemporary dance genera and her own\nsensitiveness.<\/p>\n\n\n\n

With\nthe years, she succeeded to solidify a rather consistence artistic voice which\nborders on new-age perceptions which worked for her for decades. In that sense,\nPardes, is a great test case for a choreographic endeavor synced to perfection\nwith original music, written by talented percussionist Itamar Doari. Apparently\nDoari who worked with the company during rehearsals, interwove and recorded the\nmusic with dance sections on site. <\/p>\n\n\n\n

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

Both\nartistic disciplines synced rather well on stage.  Wertheim's used the title Pardes and its various\ncultural ties- among them the Kaballah- but mostly to the word's origin in\nancient Persia language- which supported the dance mystical rites accentuated\nwith its tribal-like costumes. performed by all six dancers wearing black\nskirts- an attire which always worked in dance that wanted to add tribal aroma\nof yesteryears and borrowed from unspecific cultures or folkloric sources; bits\nfrom Suffi rites, eastern European folk dance like barrel jumps which fitted in\nquite effectively.  <\/p>\n\n\n\n

Just\nto make sure that the point is clear, Doari later added more specific Oriental\nmusical flavors, and Wertheim on her part, added more gyrating pelvises. <\/p>\n\n\n\n

Pardes\nenjoyed smooth transitions between rather short sections ; a change between\nmellow moods to more intense ones, group sections replacing short duets, in a\npleasing flow. There was one exception, an out of gauge cargo, depicting an\nabused girl by her duet partner, which initiated a prolong scene which brought\nto mind the long dying scene of the betrayed Giselle, without her fineness. <\/p>\n\n\n\n

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

Pardes,\nhad proved to be finely crafted work by Wertheim, and was full of pleasant scenes,\nparticularly some duets and fewer solos. It seemed to cater for larger\naudiences without risking stepping out of her safe zones, or daring to challenge\nher audiences and herself. <\/p>\n\n\n\n

We\nare used to see Vertigo among the larger companies when it comes to government\nsupport. Yet, those six dancers on Suzanne Dellal's stage, confounded by opaque\nred panels, worked well as an intimate ensemble with well polished dancers, so each\none of them was noticed. <\/p>\n","protected":false},"excerpt":{"rendered":"

photo: Elad Debi, Avi Luski Artistic directress of Vertigo, Noa Vertheim, added another original creation to her long line of dance works dealing with spiritual content – as well as environmental and social issues- often referring to various shades of faith along the way. Fortunately, she wraps her investigative process with rather vague abstract body…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[904,903,731,905,906],"_links":{"self":[{"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/posts\/3401"}],"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=3401"}],"version-history":[{"count":1,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/posts\/3401\/revisions"}],"predecessor-version":[{"id":3404,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=\/wp\/v2\/posts\/3401\/revisions\/3404"}],"wp:attachment":[{"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dancetalk.co.il\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}