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The Jewish Theatre is the first in Stockholm to welcome the public to try out Gaga, a dance style that has spread worldwide. Gaga is a dance that helps you strenghten your body in a both playful and calm way. The Jewish Theatre was the first in Stockholm to welcome the public to try it out. No previous dance experience was needed. The classes lasted for one hour and were taught by specially invited certified instructor Rachael Osborne who has been a dancer at Mr.
Gaga for the People-classes offer a creative framework for participants to connect to their bodies and imaginations, increase their physical awareness, improve their flexibility and stamina, and experience the pleasure of movement in a welcoming, accepting atmosphere.
The instructor guides the participants using a series of evocative instructions that build one on top of the other. Rather than copying a particular movement, each participant in the class actively explores these instructions, discovering how he or she can interpret the information and perform the task at hand. Participants should wear comfortable clothes and be prepared to dance barefoot, in socks or clean, soft shoes.
It is advisable to bring a bottle of water and a towel for use after class. As Artistic Director of Batsheva Dance Company since , he has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography.
During his first year with the company, visiting choreographer Martha Graham singled out Naharin for his talent and invited him to join her own company in New York. Naharin returned to New York in , making his choreographic debut at the Kazuko Hirabayshi studio. As his choreographic voice developed, he received commissions from world-renowned companies including Batsheva, Kibbutz Contemporary Dance Company, and Nederlands Dans Theater.
Naharin was appointed Artistic Director of Batsheva Dance Company in and has served in this role except for the season, when he held the title of House Choreographer.
During his tenure with the company, Naharin has choreographed over 20 works for Batsheva and its junior division, Batsheva Ensemble. He has also restaged over 10 of his dances for the company and recombined excerpts from his repertory to create Deca Dance, a constantly evolving evening-length work.
Naharin trained in music throughout his youth, and he has often used his musical prowess to amplify his choreographic impact. Naharin also combined his talents for music and dance in Playback , a solo evening which he directed and performed. In addition to his work for the stage, Naharin has pioneered Gaga, an innovative movement language. Gaga has also attracted a wide following among dancers around the world and appealed to the general public in Israel, where open classes are offered regularly in Tel Aviv and other locations.
Rachael joined the Ensemble Batsheva in and the Batsheva Dance Company in where she remained a full-time member until She was an original cast member in numerous creations of both Ohad Naharin and Sharon Eyal. Rachael was Assistant to the Rehearsal Director at Batsheva between In she was the Batsheva recipient of the Yair Shapira Prize for outstanding contribution to the company. Looks like great fun. So, even I try to float around, but inside my own body, at the request of the teacher Rachael Osborne who guides us through an hour of Gaga.
And the foundation of all his renowned dance works for the Israeli Batsheva Dance Company. This is no longer the case. Our teacher Rachael Osborne, a long-time dancer with Batsheva, is just one of hundreds of certified Gaga instructors worldwide.
Interest is also mounting in the classical dance world. Gaga, however, is not just for professionals. I asked what he wanted to express with his choreography, when I met Ohad Naharin a few years ago. Gaga is for anyone. I instantly fell in love. Gaga may appear as somewhat flimsy, liberating dance to a beginner, but gradually you realize how tightly structured and elegantly well thought-through the classes are.
Gaga is the fruit of thirty years of extensive dance experience. Gaga is all about getting to know your body from the inside and to feel at home in it.
Enjoy your body and relish in it, without being limited by your own reflection. In fact it is Democracy in practice, which every cynical fellow man would benefit from.
Thus, the rest of the world as well. When the Gaga class ends at The Jewish Theatre, I am at least not alone in sporting a silly happy smile. Feel how your skin is about to dissolve and fall off your bodies. The 50 or so people who are shuffling around in lose workout clothes at The Jewish Theatre are practicing Gaga.
Gaga is a kind of movement philosophy, pioneered by world-renowned choreographer Ohad Naharin of Batsheva Dance Company, which now even children and youngsters in Israel are familiar with since the exercise is provided in schools.
For the professional dancer Gaga is a way to free the body from the learned techniques and create space for creativity, new awareness and dancing pleasure. The Jewish Theatre in Stockholm has been collaborating with Ohad Naharin and Batsheva since and are now breaking new ground. Led by certified instructor Rachael Osborne, who for ten years has been a dancer with the Batsheva Dance Company, we try out an hour-long session. Participating in my group are a few well-known personalities from the theatre world as well as people who have never been on a stage.
The atmosphere is tolerant — there are no mirrors. Each and everyone must find their own sense of the verbal images that Rachael Osborne gives.
Gaga has its own vocabulary with words like biba, lena, luna and tama, but for the novice it is more graphic to think of how it would feel to have insects buzzing around your body, to wriggle around in a loose or tight suit, to perceive how a hard ball inside of you would affect the quality of your movements.
Head, neck, hands, arms, shoulders, torso, spine, hips, thighs, feet — everything is involved in an endless flow. Gaga is recommended to all that are curious about what their body can hold of expression, flexibility and emotion. It is unconditional but still very physical. Gaga for the people by Ohad Naharin Stage: The Jewish Theatre Location: Batsheva Dance Company , More about Gaga. Gaga is an exercise technique and a movement philosophy developed by Ohad Naharin of the Batsheva Dance Company.
Gaga is a dance technique for professionals. But Gaga is also a movement philosophy for the common man. Or — judging by the participants at the Gaga class I visit — the common woman. We move softly, quietly, seeking connections with our body parts, imagining that we move in a liquid, that our bodies are surrounded by swarming insects, that we receive and give energy to each other.
No body part is forgotten, no movement is wrong. Osborne leads us in movements with instructions that are firm at the same time as they are tolerant.
The experience is not instantaneous, but it sneaks up on you. Moments of monotony lead to trance-like states, further into intense energy kicks when the body comes to life by a brisker movement. Freer than Bikram Yoga, more sensual than CrossFit. By Jenny Aschenbrenner Aftonbladet October 1, A man had seven-thousand sheep, three-thousand camels, five-hundred pair of oxen and five-hundred she-asses, to that, servants in great numbers Times are not Biblical, but Roman.
This Job owns mines and harbours, ships and trade agencies all over the known world, and he is under personal protection by the Emperor in Rome. But his lack of humbleness get too much for The Lord, and right in the middle of a business dinner, gloomy messengers keep coming in. The Emperor has died and his successor has taken his hand from Job whose mine had collapsed, a storm wrecks ships and harbours, and one by one his sons are killed.
Now his former clients turn against him, he is ruined, taken prisoner, tortured, and at the end crucified. And no answer will be heard, ever. The actors are friends turned into henchmen, neighbours turned into Gestapo. The light is hard, merciless, the soundtrack overpowering. Hanoch Levin wrote plays, sketches, songs, stories and poetry, and also directed most of his own plays.
His first plays, too, were political satires, a trenchant criticism of the triumphal euphoria that gripped Jewish-Israeli society after the Six-Day War. In parallel with his political satires and in fact as the beginning of an additional dramatic form developed by him, Solomon Grip was produced by the Open Theatre in It was the first in a series of comedies that focus on the desires and suffering of sad characters in the social framework of a couple or a family in a housing project or any other type of city neighborhood.
These are based on central myths in Western culture, like The Torments of Job. In this play Levin develops a dialogue with the principal symbols and fundamental patterns of Western culture while attempting to write a modern tragedy and dramatically reshape human suffering.
Only a few were negative while the overwhelming majority were more than favorable. More comprehensive academic critique of his work has also recently begun to develop, from the standpoint of its social statement, its unique language and particularly from the standpoint of the rare relationship between categorical, blunt violence totally lacking in self-pity, and infinite tenderness, compassion, and perhaps even a facet of refined and completely non-establishment spirituality.
Read more about Hanoch Levin in The Guardian. A body — sloppy white underpants halfway down a white ass, arms, legs, hairy abdomen and an unbearable itch that makes this adult male body twist around itself in a desperate attempt to crawl out of its own skin. Anxiety in its most naked form, the fleshy, corporeal sort of despair. And just then — when Job has lost everything, his children, his fortune, his mind, when it hurts the most — three rambunctious and jostling friends enter with gifts and joyous acclamations and those collisions, brutal clashes between farce and horror, tells of a society where everything is entertainment.
It gets worse and worse and worse and just as a small glimmer of light can be perceived in the form of a reconciliation between Job and God the men of secular power arrive and impale Job on a stake through the anus so that he ever so slowly dies. It is musical and precise which plays well against the brutal and grotesque. All the blood can be washed away so easily — a blank space where a whole series of brilliant acting can excel in rapid changes between farce and tragedy.
The darkness wins, babble and antics give way to body and pain and quite uncompromisingly — which feels liberating in an increasingly comfort-oriented theatrical climate. All his plays are published in book form, there is a theatre institute that bears his name, there is extensive academic research on his works. And with that line the play situates itself smack in the middle of our consumer-oriented present day, full of already satisfied people who still just want more; eat, own more — of everything.
The actors wade around in the black flakes. They are dressed in white and black — with the red blood that is spilled as the only colour accent. In the background a window open to the world, reality, the trees outside./p>
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