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. it's june 20 2130 degrees in the shade. i've come to meet someone. he was who weighs in motion. internationally acclaimed choreographer. bull fashion fresh done. he's currently working at the theater house . stuttgart in germany, as artist in residence with l. gutierrez, dance company. i catch him on a quick break between rehearsals as an artist, he is difficult to pin down. i want to know more about his process. how does he begin? what are his 1st steps in creating a choreography? starting a dance business like sitting on the street with what is a globally uncomfortable. yeah. you have to find m. yeah. and

starting a dance phase is complicated and celtic and i would normally try to start with what's happening now in my life. whatever comes up to my head, anything, anything, it's a bit like it starts like therapy. i see what keeps me busy, and i kind of do the same with the world around me with a dancer as i try to feel what's been energy in the room. and what bothers us or interest? i'm a korean 1st, so i, i'm the chef in the kitchen. i lead the so sheriff said, you know, we get the material in the, the tomatoes, they, you know, they onions and it's all, it's great to when it's good products, we always say for a good meal, you need good product. but i appreciate that i'm, i'm kind of like leading the, the kitchen. but for this thing to happen for dan supposed to happen,

you need the great products. who did great dancers, you need the great kitchen unit, great equipment, and i recognize i can't just do it on my own chest as work often towards the world winning major rewards. he's a star among contemporary choreography. as his piece is a name for being willing to consist of emotion brimming with energy, i will have a fantasy about to watch the energy of the music or the atmosphere of, of the music. you have a strong feeling of it. and once you start writing it down or telling it to someone it's, it's disappearing, it's up. and it's the same. i will have the feeling of the music or the atmosphere of it, and i will start recording the music. and then the work starts and i will experiment and experiment experiment until the, until i find something that is like the, the heart of the thing. it's an incredibly subjective experience. dance and it's

every moment to watch. it is different. i can fall in love with something, and then really me sit and try to get the dancers to get there again. and maybe they never will because i can't feel it. power percussion action checks that took some lessons at an early age, studied music, earned plate for a long time in a rock band to this day. his predictions are driven by strong rhythms when suddenly everything is collapsing. and a lot of times i think this is when the groove is coming in, when the rhythm is where i just go like, let's just rides this wave not sink too much. and, you know, part of the work in the ambition of the work is to take people on a journey where they lose their thoughts, they lose their minds. of course, we tell the audience kind of where we are, we audience get a sense of the, the atmosphere, the laser, the, the emotion that we are kind of dealing with m,

i hope, is that it becomes a poetic experience. i disappear into it like a dream. one of his most successful pieces is town, is it features typical shasta moments motif cease developed and uses again and again. every north jeremy likes to love the cloud and the flower clown. then we're really heavy on. it's monmouth, you can really get into a conference for said yeah, she really talks about being smoky, like having their dulph. yeah. now you are a smoke or you are a balloon or it's a lot with the much a nation. so all the time we, we constantly, much in things is not your finger needs to be here or your leg needs to be there is so level of the much nation. the movement is quite juicy. if that word makes sense,

like there's a lot of texture and strong and viscosity as if for dancing through honey. and it kind of morse through the bodies of the body kind of is constantly changing and morphing and going out. and it's a, it's a way to find space in the body that maybe we haven't found before. in stuttgart, whole session chesta is working with the renowned gaultier dance company. he is known and respected. i courtiers, company, for a long time. it's an honor to be guess, choreographer here. so when i re came with the idea of more like just acknowledging the relationship close, we have one ready m, which is a very fruitful one, you know, and i love the company. i love the spirit of the company, and there is a sense of fair working really hard, you know, kind of for a lot of investments from the dancers,

from everybody in the same time of the atmosphere is very light. it's very friendly, very casual in the casualness. so for a company in atmosphere, you can find something quite human actually, and this is what interests me about dance. so i don't like when it's too late. can you know that it has all the facade and the glamour and not that interested in that the carefully just underneath yourself or do you want to take a look at it? oh, fresh chesta has already had work staged in stuttgart. he's been laughed at 3 years as artist in residence. his 1st production with a goatee dance company is a re interpretation of sworn lake. by the time rehearsals are over, barely anything will remain of the classic. the world famous ballet is given the typical shape to treatment. the idea for the adaptation came from the dance company director who wanted the original ballet to spock something entirely unique. but

when every carrier spoke about it in the beginning, i was a bit like los sworn leg. but exactly, that is what's interesting for me, the conflict, the me for the story, the, the culture around the, to the culture around what, you know, ballets and beauties. and that just makes me feel like i want to break everything. you know, it makes me feel like i want to put the theater on fire. contemporary dominance as an act that blues away the old to make way for the new radicalism is part of who hello fresh. chester is deeply in shewn with the tight geist the permits different ideas of beauty. diversity for me is that the heart of what contemporary dances, the world of ballot comes from a very particular culture, from a culture of high society,

a royal court and song. so it, it carries a very racist attitude at hearts, you know, and we are descendants of classical bother we came from there. we're like the ugly sister. the point of contemporary dance is that it diversify the perspective of how we look at things. and it is essential for contemporary dance to be diverse and it is what makes it interesting and it is what makes it to reach and truthful and honest and revealing. we want to feel and believe that contempt down says, very open the truth, these contemporary dance is still sort of owned by the middle class, you know, and it's owned by very why i told dns in order to open the doors and to you know, to, to make content pretense available for everybody, not only as an art form to watch, but to participate. a lot has to be done. the doors have to be swine in a wide open. since 2002 check the has lived in london and has frequently

sold a house, major of them used their but he also takes his work to the city smallest ages and works with up and coming down says he wants to turn conventions on their head to open doors and do away with elite ism and exclusion for him. that's true. freedom back. ah ah. working among the dances in stuttgart, our international performance, they admire his clear vision, his calmness and accuracy. checks that doesn't think much of strict grills all the

perfectionism of classical ballet. it's very clear of what he wants and the he's not stricken away. no, you did wrong or no. this is not nice, but he finds a way to guide thus into these. but the same time he has the patients that we get that in the body. something i find with her precious, kind of a light heartedness in the studio. and that allows us all to explore and to try different things without judging ourselves too much. while at the same time, having very serious physicality. so there's a lot of challenge. also, advice, gantski knows exactly what he wants from us, but he also gives us the freedom to find it ourselves. so, but for fin with your live, you how pretty, how. and then,

despite the relaxed atmosphere at rehearsals, nothing escapes his gaze. ah, changed as p since often reflect his own background in modern israeli dance is by him of but i've always been passionate about the israeli style of dance. who fishes from israel is about lives in london. his movement style and the music. he uses feature a lot of heavy and loud beats, heavy bass that goes right to your stomach bow. you sit there and think wow homes. because it's fast paced and energetically funds 20 minutes of all for you, with the style could fit in anywhere and about puzzle chest i was born in jerusalem in 1975. he learned piano with a child, and later studied ballet and modern dance. at the age of 18, he moved to tel aviv, where he was drafted into military service for 30 long months. it was

a formative and borderline traumatic time for him. i certainly tried to forget my military service. it was very unpleasant experience just just as an individual and, and you know, growing up in a country that is in attempting really badly, but attempting to be a democracy. and then you go into the army, which is a must. and then there are very different rules that it's like a universe inside a universe, and that was really difficult mentally for me to, to accept even before finishing his military service, kinda had already become a member of the renowned chiva dance company is teaching. it was all had naveen and legend of contemporary dance and offend, which really the association had a big impact on changed and it's very strong, you know, in my identity or in my,

i mean, it's my history and you know, our history shapes us, you know, and and my growing up in israel and the quality traumas this sort of like overly politically obsessed environment, that israelis is certainly a kind of marked me and working with ohio than working with whichever, which is obviously such a strong language such as a stronger choreographer. so it's, it's my family morton is rainy, dance with its powerful syntax of movement, past shaped companies, world wide, pulsating pieces sweep, audiences away, and also with a society in which they were creative. i think there is a level of her directness that's what comes to mind that can have

a positive size and pretty, pretty difficult sized top sites. tough love and toughness. ruth? so yeah, that directness i think, is, is a kind of the strength of the ease readily and dance. you get the truth in the face down often becomes political if the whole fashion stack his pieces out in st. provocative point of emotion compassion. yeah. and also aggression just like in crowns. clowns. her clowns is a it started like an experiment. and it's a very simple and show where the performers are. obviously there to entertain the

crowd. and they use whatever means available to them to entertain. the crowd is easily dancing and tap dancing, fake tap, dancing, and theatrical killings. so it starts with some killings that are kind of like amusing. but it never stops. the theatrical killings become more and more choreographed and more and more, you know, kind of mass. busy mass killings that are got crow graphically happening. so i think that the work is very starts entertaining and with a smile and can become quite satisfyingly. i think, disturbing. crisis

. conflict. whoa, whoa, fetched as work reacts to political events, to the mood of the time. the death of the united states. 201620. 17. for example. saw terrorist attacks carried out my islamic militants around the world. chester responded with the peace grand finale grunting. only a war could that, that colonel responded to the energy, the apocalyptic energy in our world. there was a feeling that everything is collapsing, everything is coming to an end. it's like all the structures that we know. everything that we trust is like falling apart the world from being the solid place

that we can trust became. we don't know what we can trust and death is everywhere. looking at everything collapsing and how does it feel? how does, from the inside, what, what's the experience of people inside? this is 8 case in the contrast could hardly be greater between the calm, polite atmosphere, if rehearsals and harsh controlled chaos of chest, his work on stage. but he also sees the rehearsal studio as a place to create genuine physical experiences. something that plays an important role in his work is the dark, and it's stage dancers who in a state of the to live yes, rapture as is hypnotized. ah

. the darkness gives us a space like a surreal space against like a dream world. so the darkness helps focus the elements, you know, focused energy. you know, we start getting into some sort of a trance. think we speak about the work that i have, the darkness. that's the power for me. sometimes you can say there is a power in revealing the room. there is a power in saying, we are here now experiencing this and like in our 1000 people watching a few people bringing the spirit up and you say, this is where we are now. like having these 2 sides of the rainbow of the arch is what makes you feel all their world that exist between so that you know,

the really kill article peasy quick. you know, i love it when it gets complicated. repetitive to and then you have the kind of the silence and the moments that gives you very little. i love l o positions. i just, i love kind of arguing with myself again and again. whole, fresh, chesta seeks out animalistic movements in his dances. echoes, if the primal are we are an animal in my hand and we're just as somehow have the ability to speak. that's kind of amazing. and the ability to plan, i enjoy exploring the body and the movement of the body to, to the complexity of it. so when you explore the complexity and the full ability of your color, you're in discover animalistic size. full shasta,

the animalistic wet presented direct and continuous energy, pure physicality and unrestrained power thing. there is an openness. there is there. i don't know how to explain it. there is like the, the breath of oxygen sort of, that is very inspiring. are almost like translucent, transparent, energy. after just 4 weeks of rehearsal, i meet whole face. shasta, again on the day of the dress rehearsal. i'm back at the t onto house, just got home. if the go to a dance company, the mood is highly focused. clutch relaxed at last shakes does re interpretation of swan lake is coming to the stage. he's renamed the piece. it's one cake. it's less

about the profound and more about the pleasure of nonsense when he compose the music him. he does, for most of his choreography, you know, okay, so he's having a last consultation with the company's director. and i go to head you're hearing, there are still a few details to be ironed out. like, how will the curtain cold be done and what's a suitable sound track like confetti cannon or their feathers from the ceiling. others from the tar and feather around it. and then and then down. ah, yeah, that is so like, surprising, the audience. yeah. so basically, yeah, like how would start this one lake is an unrecognizable version of tchaikovsky. county there's no white swan to be

seen. the dances are in colorful casual gear. instead of fairy tale bliss this pump instead of themes, their purity and beauty, a crazy true phyllis, the stage instead of melodrama. best light hearted chaos. it more like a wild party. lasting late into the night, told a dance many times and feels like it. it's falling down the steps and it goes another layer and another layer. there is no rules in a way to that piece it's, it's kind of exists in a bit of a cabaret, like worlds, you know. but, but that allows for everything to happen. and, and maybe it's that sense of freedom that it just, it just wants to, it just wants to explode and do what it once may be a bit childish. ah,

swan can't maybe not a whole session masterpiece that will be talked about forever. but definitely something that needs you wanting more and the performance is certainly demanding for the dances as exhaustion and relief when it's over. for the choreographer himself, it's a chance with critical reflection. my feeling is there, what can he seeks and what can i make better? them so yeah, good moments about him and you know, i can see the things where it feels itself and where it really works. and i said places where maybe we can make it better. and i'm not just sitting and enjoying it . so it was very intense. but it's funny because very intense work, and sometimes stuttgart is very quiet, but there is a sweet memory with this,

which memorial annoyed. so it's, it was a healthy working hard. and then for me it's very important that that in series, creative and open and playful. and this is a how i want to spend my life. oh, fresh as productions are full of emotional and physical power like the rest of his life. thereabout, motion and intensity. one last question for the choreographer. which part of the body does he see as most underappreciated? the bought some of the c. you'll have to think about that a little bit. thank you very much. thank you. thank you. with

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