oh, love is lies. oh, love matters and that's my new podcast. i'm evelyn sharma, and i really think we need to talk about all the topics the north divides and deny this. i haven't visored many deer and well known guests, and i would like to invite you to an end sometimes the best job right out at you. our tv highlights for shooting books and free week, snuck them up with diversity for me is at the heart of what content for dances.

make me feel like i want to put theater on tire with . it's june 20 2130 degrees in the shade. i've come to to meet someone. he was always in motion, internationally acclaimed, choreographer, bull fashion fresh done. he's currently working at the theater house, stuttgart, germany, as artist in residence with booties 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 weakness steps in creating a choreography? starting a dance business like sitting on the street with kind of what is the leg wobbly? uncomfortable. yeah, you have to find m. yeah, am starting a done speech is complicated and quality can 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 choreographer. so i, i'm the chef in the kitchen, i lead the sous chef and you know, we get the material in the, the tomatoes, you know, they only, and, and it totally great when it a good product. we always say for a good meal, you need a good product, but i appreciate that i'm, i'm kind of like leading the, the kitchen. but for this thing to happen for don supposed to happen, you need great productivity. great, downstairs, you need great kitchen unit, great equipment. and so i recognize i can just do it on my own chest at work also towards the world winning major reward. he's a star among contemporary choreography. as his piece is known for being rollercoasters of emotion. brimming with energy, i will have fantasy about what's the energy of the music without insurance 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 appearing, it's up and the same 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 if experiments and experiment and experiment until the, until i find something that is like the, the heart of the thing. it's an incredibly subjective experience and dance and it's as re moment to watch. it is different. i can fall in love with something and then really miss it and try to get the dancers to get there again. and maybe they never, well, because i can't feel it. power percussion action checks that i took from lessons at an early age, studied music, earned plate for a long time in a rock band. to this day, his productions 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 re them is right. just go like,

let's just rides this wave and not think too much. and, you know, part of the work and 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 know didn't get a sense of the, the atmosphere, the delays or the, the emotion that we are kind of dealing with them. i hope is that it becomes a poetic experience. i disappear into it like a dream. one of his most successful pieces is town. 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. oh, it's fun. you can really get into a concert. i'm for sets. yeah. she really talks about being smoky.

like having the idea. yeah. now you are a smoke or you're 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, the much nation, the movement is quite do see if that word makes sense. like there's a lot of texture and strong and viscosity as if for dancing, honey, and it's kind of morse through the body. so 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 choreography here. so when i re came with the idea to talk more like just acknowledging the relationship because we have one ready am, 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. and the same time the atmosphere is very light. it's very friendly . it's 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 to like her, you know that it has all the facade and the glamour. and now that interested in that carefully happening just underneath yourself. want to take a look at it. both ash chester has already had work staged in stuttgart. he's

been math at 3 years as artist in residence. his 1st production with the goatee dance company is a re interpretation of swan lake. by the time rehearsals are over, barely anything will remain of the classic. the world famous ballet is given the typical stretch the treatment. the idea for the adaptation came from the dance company director. he wanted the original ballet to spark something entirely unique . when every kid spoke about it in the beginning, i was a bit like law 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 is

a way the old to make way that the new radicalism is part of who hello fresh. chester is deeply in tune with the tight geist he 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 contemporary john 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 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 chairs the has lived in london and has frequently sold a house, major of them use 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 drills all the perfectionism of classical ballet. it's very clear of what he wants and he's not stricken away. no, you do it 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 regarding your live, you how pretty, how. and then, despite the relaxed atmosphere at rehearsals, nothing escapes his gaze. ah, chased as p says, 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, but lives in london is 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 a 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 they, 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 changed, i had already become a member of the renowned back chiva dance company is teaching it was, oh, had naveen and legend of contemporary dance and offended was really the association had a big impact on change down. 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 college 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 modern

is rainy, dance with its powerful syntax of movement, past shaped companies, world wide. how fading piece is sweet audience is away and also reflect the society in which they were created. 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. the whole fashion stack. his pieces are all fail, provocative point of emotion compassion. yeah. and also

aggression. just like in towns. clowns. her clowns is a it started like an experiment. and it's a very simple 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, fresh changed as work reacts to political events, to the mood of the time. 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 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, for, from the inside what, what's the experience of people inside this zayed case? in the contrast could hardly be greater between the calm, polite atmosphere. if rehearsals and harsh controls 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 that dark and it's stage dancers who's in the state of the vs rapture, as if hypnotized. the darkness gives us a space like a surreal space. again, it's 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 works that have the darkness that 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 chaotic 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 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 presents 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 fish down again on the day of the dress rehearsal. i'm back at the t onto house, just got home. if the go to your dance company, the mood is highly focused, but 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 being, he composed 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 to like, how will the curtain cold be done? and what for suitable soundtrack, like confetti cannon or their feathers from the ceiling fans and 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 massey. there's no white swan to be seen. the dances are in colorful casual gear. instead of fairy tale bliss this pump instead of beams of 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. it 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 fetched and masterpiece that will be talked about forever. but definitely something that leaves 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 i fix and what can i make better? them so yeah, good moments about home and you know, i can see the things where it feels itself and where it really works nicer places where maybe we can make it better and i'm not just sitting and enjoying. and so it was very intense. but it's funny because very intense work, and sometimes stuttgart is very quiet, but there's 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 the atmosphere is creative and open and playful. and yeah, this is 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 bottom of the c. you will have to think about that a little bit. thank you very much. thank you. thank you. with a, with

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