L-E-V | Tel Aviv
creators: Sharon Eyal, Gai Behar
music, sound artist: Ori Lichtik
lighting design: Thierry Dreyfus
costume: Odelia Arnold in collaboration with Sharon Eyal, Gai Behar, Rebecca Hytting, Gon Biran
premiere: 2015, Colours International Dance Festival, Stuttgart
performers: Gon Biran, Rebecca Hytting, Mariko Kakizaki, Keren Lurie Perdes, Doug Letheren, Leo Lerus
The obsessive-compulsive disorder (OCD), repeatedly poses challenges for love and for life. A powerful piece, danced to pulsating techno beats created by DJ Ori Lichtik, talks about love that always misses, or lovers who keep missing each other. Out of synchronization! Like one person comes to bed and the other gets up. Like something that is full and intact, but has many holes in it. This work is about the holes.
I see everything in the piece very dark, and in shadows, you and your shadow dancing. A lot of inspiration for the work comes from the text "OCD" by Neil Hilborn. This text is strong for me because I feel it reflects me so much. I couldn't stop reading it. For me it was already choreography, or a mold you can put your inspiration in, yourself in. It is the first time that the core of the piece is shaped in my head, and so figurative, before we have even begun working. I know the way it feels and smells. Like the end of the world, without mercy. A smell of flowers, but very dark. Like falling into a hole and not coming back. A lot of noise, but desperation for quiet. It's not coming from a place that I want to make something sad, but something that I need to take out of myself, like a dark stone I have in my chest.
Sharon Eyal was born in Jerusalem. She danced with the Batsheva Dance Company from 1990 until 2008, and began choreographing within the framework of the company’s “Batsheva Dancers Create” project. Eyal served as Associate Artistic Director of Batsheva between 2003-2004, and House Choreographer of the company between 2005-2012. In 2009 Eyal began creating pieces for other dance companies in the world: “Killer Pig” (2009) and “Corps de Walk” (2011) for Carte Blanche Dance of Norway; “Too Beaucoup” (2011) for Hubbard Street Dance Chicago and “Plafona” (2012) for Tanzcompagnie Oldenburg. In 2013, Eyal launches L-E-V with her long-time collaborator Gai Behar. In 2015, they premiered “Untitled Black” in collaboration with the Goteborgs Operans Danskompani in Gothenburg. Eyal is the recipient of numerous awards, including the 2004 Ministry of Culture Award for young dance creators and the 2009 Landau Prize for the Performing Arts in the dance category. In 2008, she was named a Chosen Artist of the Israel Cultural Excellence Foundation.
Gai Behar was taking a big part of Tel Aviv nightlife scene as well as a curator of multidisciplinary art events from 1999 till 2005. He joined Eyal in co-creating “Bertolina” in 2005 and has collaborated on her creations ever since.
Since 2006, collaborators Sharon Eyal and Gai Behar have been a significant voice in the artistic community, creating a continuous stream of critically acclaimed original works for Batsheva and other eminent dance companies around the world. L-E-V is the culmination of years of momentum, choreographed by Sharon Eyal and Gai Behar, accompanied by the endlessly original music of Ori Lichtik, delivered by fiercely talented dancers that move with expressive precision. L-E-V feeds off of emerging technologies and integrates them effortlessly and unobtrusively into cross-disciplinary staging that could be equally at techno-club or opera house. L-E-V is the confluence of movement, music, lighting, fashion, art and technology—each uniquely expressive while emotionally entwined. L-E-V embodies a pledge to move and engage a diverse spectrum of new audiences and collaborators.
The major legacy of Sharon Eyal and Gai Behar is a lexicon of movement that is unlike that of other artists. It’s their own language, full of passion and, at the same time, marvelously delicate. The dancers move like people from another culture, with bodies that move differently and with a world of images and memories of their own.
© Haaret'z, Israel
The intense connection that this music, the lighting effects and the dancing in "Killer Pig" came in, made even someone who does not like techno or knows, inevitably fall into its maelstrom
© Textur, Germany