mike speaking, how can miss pat hatred of a people the explained a gold top gold? a history of anti semitism is a history of stigmatization and exclusion of religious and political power struggles. it's a history of slender, of hatred and violence even 77 years after the holocaust hatred towards jews is still pervasive. oh, a history that you semitism this week on d. w. o. o o. diversity for me is at the heart of what clinton for dances. ah

ah, make me feel like i want to put the theater on fire. thing 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. both ash cash done. he's currently working at the theater house, should've gotten gemini as all taste in residence with booties dance company. i

catch him on a quick break between rehearsal as an artist, he is difficult to pin down. i want to know more about his princess. how does he begin his steps in creating a choreography starting a dance business like sitting on the street with kind of what is like wobbly, uncomfortable. yeah, you have to find m. yeah. am starting of dance. p c's is complicated and celtic and i wouldn't 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 and i see what keeps me busy. and then i kind of do the same with the world around me with a dancer, as i try to feel. what's the energy in the room?

and what bothers us or interest us? i'm a choreographer. so i, i'm the chef in the kitchen. i lead the so sheriffs and, you know, we get the material in the, the tomatoes, the, you know, are they onions and it's all, it's great when it's good products. we always say for a good meal, you need good products. 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 the great products, really great dancers, you need the great kitchen unit, great equipment in i recognize i can just do it on my own justice. work also towards the world winning major rewards. he's a star among contemporary choreography as his pieces and known for being wearing a pedestal of emotion brimming with energy. i will have a fantasy about to what's the energy of the music or the atmosphere 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 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 from 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 the to watch. it is different. i can fall in love with something and then really miss it and tried 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 them lessons such an early age, studied music, played for a long time in a rock band to this day, his productions are driven by strong with him. 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 where i 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 faults, they lose their minds. of course, we tell the audience kind of where we are, we, the audience get a sense of the, the atmosphere, the place 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 it features typical shesta moments motif cease developed and uses again and again. every north jeremy likes to law the cloud and the flower clown. then we're really heavy on. it's monmouth, 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 as 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, 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 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 fashion chesta is working with the renowned gaurtier dance company. he is

known and respected at courtiers company for a long time. it's an honor to be guessed, choreographer here. so when i re came with the idea to talk 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 san, so for 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 athens here, 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 now that interested in that carefully, just underneath yourself. i wanted to quickly both ash shesta has

already had work staged in stuttgart. he's been math at 3 years as artist in residence. his 1st production with a goatee dance company is a re interpretation of swan lake. by the time rehearsals are over, valley, 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 care spoke about it in the beginning i was a bit like law. busy sworn leg, but exactly, that is what's interesting for me, the kind of like 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

donors 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 tune with the tight guys. he permits different ideas of beauty. diversity for me, is it the heart of what contemporary dances? the world of ballad 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 swearing in a wide open since 2002 chairs to 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 had to my and 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 the he's not strict in no way, 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 escaped his gaze. ah, changed as p since often reflect his own background in modern israeli dominance is by him of but i've always been passionate about the israeli style of dance. who fishes from israel, a glimpse of nandan on 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 hm. so because it's fast paced and energetically funds, 20 minutes of a for you, with the style could fit in anywhere good or bad puzzle. chest and 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 a very unpleasant experience just just as an individual and, and, you know, growing up in a country that in attempting really badly, but attempting to be a democracy. and then you go into the army, which is a mast. and so they're 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, kinda had already become a member of the renowned back chiva dance company is teaching. it was all had naveen, a legend of contemporary dance, and the fellow with railey, the association had a big impact on shasta. 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 and working with my chevy, which is obviously such a strong language such as a stronger choreographer. so it's,

it's my family. think modern is rainy, dance with its powerful syntax, if movement, past shaped companies, world wide. how satan p say sweet audience is away and also with a 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 there any kind of the strength of the ease readily and dance? you get the truth in the face don't often becomes political if the whole fresh dak, his pieces are also provocative. that full of emotion, of passion, theat,

and all st. aggression. just like in clowns. 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 thing . and they use whatever means available to them to entertain the crowd in easily dancing and tap dancing, fake tap, dancing, and the theatre co 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 it 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. 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 where 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 shakes 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 is 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 in our 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 give you very little. i love it or positions i just, i love kind of arguing with myself again and again. whole fresh, shasta seeks out animalistic movements in his dances. o'kelly's, if the primer we are an animal in my head and we're just is 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 carlton, 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 for her. so i'm back at the tea auto house. she got got home with the goatee dance company. the mood is highly focused, much relaxed. at last shakes, does re interpretation of swan lake is coming to the stage. he's renamed the piece swan cake. it's less about the profound and more about the pleasure of nonsense when he compose the music himself. he does, for most of his choreography, you know, okay, 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 cole be done, and what for suitable soundtrack, like confetti cannon or rather their feathers from the ceiling

fans and the tar and feather over and then ah, yeah, that is so like, surprising the audience. yeah. so basically, yeah, a bit like how it starts, and this one lake is an unrecognizable version of tchaikovsky, massive. 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 troop fills the stage. instead of melodrama, best light hearted chaos. it's more like a wild party lasting late into the night. for the dances 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, 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 fish than 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 for critical traction. my feeling is there. what can i seeks and what can i make better? them so yeah, good moments and bad moments. you know, i consider things where it feels itself and where it really works and i see places where maybe we can make it better. hm. i'm not just sitting and enjoying it. so it was very intense, but it's funny because very intense work. in the same time. stuttgart is very quiet, but there is a sweet memory to this which memorial annoyed. so it's, it was a healthy working hard 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 so 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 that bought some of the c? we'll have to think about that a little bit as you know, a month. thank you. thank you. oh. oh.

i. oh, they fled because they reject pooty and his war russians in georgia. more than 40000 russia. yes, and found refuge in neighboring georgia since the war began. they are trying to

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