2023-06-23 16:22:20
For 43 years, under the leadership of its founder and director Jean-Paul Montanari, Montpellier danse has been weaving beautiful stories of friendship and artistic companionship. Sharon Eyal is one of those figures who have become, through the creations, familiar to the Montpellier public.
After her luminous triptych on love, the Israeli choreographer unveiled the world premiere on June 22 Into the hairy (literally “inside the hair”). She declines the dark counterpart of her previous opuses, venturing into a darker, slightly disturbing fantasy land, whose power of fascination remains intact.
A dance that keeps reinventing itself
Coming from the famous Batsheva dance company, of which she was the appointed choreographer between 2005 and 2012, Sharon Eyal continues to explore an incomparable melting pot initiated by Ohad Naharin with this same capacity, always disconcerting, to impress unexpected movements on the body. A dance that never stops reinventing itself to the delight of the public ready to embark on new horizons. The body is here the instrument of a deep, unique and resolutely fascinating quest.
With Gai Behar, co-founder of their company LEV, Sharon Eyal integrates movement into a powerful aesthetic where images and sound, the result of a collaboration with electronic music composer Koreless, correspond in perfect intimacy. Members and score dialogue, without it being possible to distinguish which really leads the dance, in an interlacing of loops of extreme precision.
animal movement
The costumes signed Maria Grazia Chiuri (Christian Dior) envelop the sharp bodies of the seven dancers in a delicate black fabric, revealing to the spectators the incredibly plastic line of their spinal columns and their arms with the flexibility of creepers. Deploying an animal vocabulary, Sharon Eyal draws her inspiration from the mysterious waves of the hair summoning here and there a few reminiscences – the snakes of the Jellyfish for example – and a bewitching sensuality.
Despite a moment of hesitation, where in their repetition the choreographic segments seem to cannibalize each other, and a hazardous ending (which casts doubt on a possible technical problem), the inventiveness of this dance commands admiration.
Extraordinarily inscribed in the physiognomy of the performers, who are not satisfied with a simple execution but truly live it, the choreography leads the spectator towards an almost hallucinatory world. The capillarity of the gestures, the fluidity of the swaying hips on demi-pointe, these arms which feel the resistance of an invisible liquid material, cause a magical trance which puts the whole room in weightlessness.
#liana #bodies #Sharon #Eyal