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. it's june 20, 2130 degrees in the shade. i've come to meet someone. he was always in motion. internationally acclaimed, choreographer, bull fashion trash done. he's currently working at the theater house, stuttgart in germany, as artist in residence with forty's, 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 process. how does he begin? what is 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 and 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 managing the room and what bothers us or interest. i'm a korea 1st, 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, the audience, and it's totally great when it a good product. we always say for a good meal, you need a good product. but i appreciate the time. i'm kind of like leading the kitchen, but for this thing to happen for this to happen, you need

a great product period. great dancers, you need a great kitchen unit, great equipment, and i recognize i can just do it on my own chest as we're open 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 fear 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 experiment until the can i find something that is like the, the heart of the thing. it's an incredibly subjective experience and dance. and it's every moment that you 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 will, because i can't feel in power of caution action check that it took from less than that. that's an early age that he's music played for a long time. in a rock band to this day, his productions are driven by strong rhythm. when suddenly everything is collapsing and a lot of times i think this is when the group is coming in. when the rhythm is where i just go like, let's just ride this wave and not think too much and you know, part of the work. and then vision 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 didn't 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 cloud. 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 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 sola, 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 i 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 gaurtier 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 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 a, you know, that it has all the facade and the glamour. and now that interested in that a, just underneath yourself, i wanted to quickly throw 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 when

every carrier 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 dominance, i sent to that to please away the old to make way for 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 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 venues that 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're doing wrong or no. this is not nice, but he finds a way to guide us into these. but at the same time, he has the patients that we get it in the body, something i find with ho fascist. i'm 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 is a lot of challenge. also, a vice dance knows exactly what he wants from us. but he also gives us the freedom to find it ourselves. so, but through fin with your little how pretty, how and then, despite the relaxed atmosphere at rehearsals,

nothing escapes, his gaze changed as peace is 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 a 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 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, could about puzzle chest and was born in jerusalem in 1975. he learned piano was 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 to 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, a net gender 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 much ever, which is obviously such a strong language such as a stronger choreographer. so it's, it's my family martin israeli dance with its powerful syntax. if lou flint passed shaped companies worldwide, pulsating pieces sweep audiences away and also reflect 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 it kind of the strength of the israel, early dance. you get the truth in the face with dance, orphan becomes political of the whole fashion stack. his pieces are insane. provocative of emotion, passion. yeah. and also aggression. just like in town is 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. it 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, a 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 cuz that that kind of 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 in 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 that doll can it's stage dancers who in a state of the tv. yes, rapture is hypnotized. ah. the darkness gives us

a space like a surreal space. it's 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 trans think we speak about the works that 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 it or positions i just, i love kind of arguing with myself again and again. whole fish. shasta seeks out animalistic movements in his dances. okay. is if the primal 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 food ability of your current in your, in discover animalistic sides for 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 these 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 t r to house. sure. got home if they 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 swan

cake. it's less about the profound and more about the pleasure of nonsense being. he composed the music himself, he does, for most of his choreography. 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 cold be done and what for suitable soundtrack? like confetti cannon. yeah. ward over there, feather lisa from the ceiling fans and the tar and feather riveted. amanda and then don. ah, yeah, that is so like the pricing, 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 a damn,

says 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's 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 the 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 fish changed, a masterpiece that will be talked about forever. but definitely something that needs to be wanting more and the performance is certainly demanding for the dances as exhaustion relief. when it's over for the choreographer himself, it's a chance that critical reflection. my feeling is there what can be fixed 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 in enjoying it. so there was very intense, but it's funny because very intense work. in the same time. stuttgart is very quiet,

but there's a sweet memory to this which memorial night. so it's, it was a healthy working hard enough for me, it's very important that, that in series, creative and open and playful. and 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.

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