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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 meet someone who is, who weighs in lotion internationally acclaimed choreographer. both ash cash done. he's currently working at the theater house shook. got in jim. us 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? what a history of this depths 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. am starting of done speech is complicated and kill taken 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 1st. so i, i'm the chef in the kitchen, i lead the so sheriff said, you know, we get the material in there, the tomatoes they, 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 product. but i appreciate that i'm, i'm kind of like leading the, the kitchen. but for this thing to happen for dance was to happen. you need the great products. he had great dancer, as you need the great kitchen unit, great equipment, and i recognize i can't just do it on my own chest as we're offering towards the world winning major rewards. he says star among contemporary choreography. his piece is a name for being wearing a pedestal 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 this appearing, it's up and it's the same. i will have a 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 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 it. power percussion action checks that i took from lessons at an early age, studied music, played for a long time in a rock band. to this day, his productions are driven by strong rhythms. when a 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, the 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 cloud cloud. so then we're really heavy on. it's must, you can really get into a concert. i'm for said. yeah, he 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 to be 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, will came with the renowned go to a dance company. he is known and respected at courtiers company for a long time. it's an honor to be guessed choreography here. so when i re came with the idea to talk more like just acknowledging the relationship that we have on 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. and sometimes the atmosphere is very light. it's very friendly, very casual. in the casualness of 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 not interested in that. the cancellation happening just underneath yourself, or you want to collect it through. 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 the goatee dance company is a. ready rehabilitation of swan lake. by the time rehearsals are over,

barely anything will remain of the classic. the world famous ballet is given the typical shape, the 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 large 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 as an act that blues away the old to make way for the new radicalism is part of who hell, fish. chester is deeply in shewn with the site. 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 dance is a 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 2000 in to check to has lived in london and has frequently sold a house. major 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. 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 did wrong or no, this is not nice, but he finds a way to guide us into these. but at the same time he, he has the patients that we get it in the body. something i find with huff ashes, 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 on while at the same time, having very serious physicality. so there is a lot of challenge, also a vice gone. skinner 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. mm. chased as p since often reflect his own background in modern israeli dance is about him. but i've always been passionate about the israeli style of dance. who fishes from israel a lives in london on his movement style under 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 hm. so because it's fast paced and energetically fun to 20 minutes, if i for you with the style could fit in anywhere good about personal changed. 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 an 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 kinda had already become a member of the renowned chiva dance company is teaching. it was, oh,

had naveen and net gender of contemporary dance and offend, which 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 my chevy, which is obviously such a strong language such as a strong, gay choreographer. so it's, it's my family morton is rainy, dance with its powerful fin, tax of movement, past shaped companies,

world wide. pulsating p, say sweet audience is 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 a kind of the strength of the ease readily and dance. you get the truth in the face down often becomes political of the whole fashion stack. his pieces out in st. property for the promotion. the passion for. 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 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, 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 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 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 seem in the state of the tv yes, 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 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 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, shasta seeks out animalistic movements in his dances echoes, if the primal are we are an animal in my head 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.

r to house. sure. got home if they 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 swan cake. it's less about the profound and more about the pleasure of nonsense. he composed the music him. i asked for most of his choreography, you know, okay, so he's having a last consultation with the companies 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 seemed to pull soundtrack like confetti cannon or their feathers on the ceiling? vendors from the tar and feather. oh, really good. and then and then down. 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. cathy, there's no white swan to be seen. the dom says orange color, full casual gear. instead of fairy tale bliss. this pump instead of themes, their purity and beauty. a crazy tru fill of 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 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 fetched and masterpiece that will be talked about forever. but definitely something that leaves you wanting more and the performance is certainly demanding before the dances as exhaustion 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 him and you know, i can see the things where it feels itself and where it really works nicely to

places where maybe we can make it better than 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 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 to see see asked most underappreciated that bought some of the c. you'll have to think about that

a little bit. thank you very much. thank you. thank you. with oh ah, with

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