Dance & Theatre
Excerpt from "Sus Ha'ets Michael" 1
Excerpt from "Sus Ha'ets Michael" 4
Excerpt from "Sus Ha'ets Michael" 2
Excerpt from "Sus Ha'ets Michael" 3
"Death Came To the Wooden Horse Michael". Choreography-Rami Beer. Dancers - The Kibuzim Group. Ein Gev Festival - 1984.
This famous long poem by NATAN ZACH has been set to music before , but not as a dance piece. My main inspiration was the children song "The Parting" (Kipnis - an iddish melody). The boy Michael, after 5 years of leisure, has to go to school and leave his home for the first time. In the poem Death comes to the wooden horse and tempts Michael (the wooden horse) to follow him. This is my Longest work (about 40 minutes).
Excerpt from "Sus Ha'ets Michael" 5
CHERLIKA CHERLI - a play by Dani Horovitz, directed by Ilan Ronen, The KHAN THEATR, Jerusalem 1977. Actors - Israel Gurion, Aliza Rozen, Meir Feningstein ( Poogy) and 5 others.
The street song "CHERLIKA CHERLI" (talks about a trip from Tel Aviv to Jerusalem in the 40th) is taken as a symbol of the Israeli Zabar (native) and deals with various issues of identity. Having percussion,flute, accordion and guitars played by the actors I could paint a large sound picture with quotation of Beethoven, Merlena dietrich, samba, islandic folksong and original music.
Excerpt from "Cherli Kacherli"
KARUSEL (1970) - A Pantomime play written and performed by famous mime artist YORM BOKER .
Having to write theater music for a play in which the actors do not speak may look easy because there are no sound limitations, but it is double responsibility, because it should be perfectly synchronized.
Excerpt from "KARUSEL", 1970
"Wolves and whales" - a dance version. in the late 1990's the choreographer sharon pinsley did a dance workshop in the u.s. and she picked this electronic piece (see "AUDIO - ELECTRONIC") to which I did slight changes and shortened the piece a little. Though not professional dancers – the students put a lot of effort and the soft set looks great.
"Wolves and Whales"
Excerpt from "Nof" ("view"), 1997
"Nof" (A View) -1997-8-9. An outdoors performances of Adina Bar On in EIn Hod artists village, in collaboration with Yanko-Dada museum.
The site , ,across the porch of the museum ,one kilometer away, can be used only 2 months in the summer, when the village sheep eat the grass and the dancer can be seen with the help of binoculars. As for the the sound - we thought of hanging huge speakers , but then - the intimacy is broken. So we used earphones for all viewers as well as speakers for the porch. After 20 minutes, Adina climbs to the porch and continues to speak to the audience in a very personal way.
Excerpt from "Kadish", 1975
KADISH 1975 & KADISH LENEOMI 2000 – 2 productions of ALAN GINSBURG's famous play directed by HANAN SNIR.
In 1975 poet David Avidan translated the play, and in 2000 the director with the help of his assistant Irit Mittelpunkt did it, using poet NATAN ZACH's translation of the original poem, which became later a movie script and finally a play.
"KADISH" tells the story of young Allan who has to hospitalize his mother who was losing her mind. Actress Lea Koenig played the mother in 1975 and Gila Almagor played it in 2000. Both productions made a short movie of the hospital treatment, as was instructed in the script by the author. The music was quite different: in 2000 we had live music: young Allan played the mandolin (as ordered by the author), a piano - ("The man I love") and a bass player who had an important role (in the tradition of reading poetry accompanied by jazz bass).
Excerpt from "the 7 beggars", 1979
The Seven Beggars - A FABLE BY RABBI NACHMAN FROM BRESLAV. The Khan theatre 1979. Director: YOSSI YZRAELY.
7 CRIPLLED BEGGARS who saved two infants many years ago come to a wedding of the same couple to bless them. It seems that the beggar's limitations are really a source of blessings and inner understanding of human nature. The disciple who listened and wrote the story testified that the Rabbi did not reveal the identity of the 7th beggar - some think it would be the Messiah.
The Chan hall looked like a huge cave, and the director used a part of the audience seats to recreate the whole space as his stage.
IN this production we had 10 actors and actresses who had good voices and two violinists: Haim Permont who is now a major composer in the Israeli scene and Zruya Lahav who is a lyricist and has a beautiful voice. The music is definitely not Hassidic or folkloristic" it is abstract, and tries to enhance the inner emotions and conflicts.