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Yasmeen Godder

Company

Yasmeen Godder was born in Jerusalem and raised in New York City. Godder moved back to Israel in 1999, and has been based there since. Her work is being extensively presented internationally at venues such as Lincoln Center Festival, Tokyo International Festival, HAU in Berlin, the Place Theater in London, Montpellier Dance Festival in France, Kunstenfestdesarts in Brussles, the Sydney Opera House and many more. Yasmeen is the recipient of numerous awards, including a Bessie Award, NY in 2001, The Israeli Ministry of Cultural Affairs prizes for choreographer and company, the Rabinovich Foundation Award, the Tel-Aviv Municipality’s Rosenblum Prize and the Lottery’s “Landau Prize”, among others. In 2007, the Yasmeen Godder Studio has been opened in Jaffa, a home for all of her activity and projects.

UP COMING PERFORMANCES

Touring repertoire 2016-2017-2018

  • Two Playful Pink | 2 performers, 60 min.
  • Common Emotions | 6 performers, 70 min.
  • Simple Action | 6 performers, 45 min.
  • Climax | 6 performers, 160 min. including 20 min. intermission.
  • Lie Like a Lion | 3 performers, 60 min.

Common Emotions

“Collective feelings as a concept comes from social psychology and became of interest to me after a long period of research into movement disorder. The subject is personally relevant for me because of my geographic location and the profound impact of regional and international current events. Living in Israel has meant witnessing first-hand the forming of groups around tangible collective emotions and ideologies.” Yasmeen Godder

 

 

In Godder’s new work, Common Emotions, she sets out to look in real time into what makes us participate in a social ceremony? How does the performance, as a social ceremony, impact the way we relate to each other? What determines our involvement in it and what control do we have over our emotional self during this act?

In Common Emotions, 6 performers: Shuli Enosh, Dor Frank, Ayala Frenkel, Uri Shafir, Ari Tepperberg and Ofir Yudilevich, share the stage with guests, from the audience, blending and mixing the formal separation between performative space and the spectators’ seats. Adding a new secretive communal zone, behind the back curtain, the audience and the performers interact and exchange with each other, as they attempt to explore emotional infectiousness and connectivity.  Conveying emotional information via short workshops the performers share inner unspoken experiences and attempt to charge the audience/guests with ingredients that will boost possible participation and change their viewing position. All of this plays back into the stage, where the performance continues in a developing  effort at staying presentational and frontal. Being influenced by her country’s interest in creating a strong emotional narrative that bonds society, Godder is inviting us to a live lab that researches the meaning of participation and its impact on us as individuals and groups. Enabling us to look at it both as an aesthetic phenomenon as well as experiencing it through our bodies and senses.

Credits

  • Choreography | Yasmeen Godder
  • Co-artistic director and Dramaturgy | Itzik Giuli
  • Creating Performers | Shuli Enosh, Dor Frank, Ayala Frenkel, Uri Shafir, Ari Teperberg, Ofir Yudilevitch
  • Stage and Costumes | Gili Avissar
  • Lighting | Omer Sheizaf
  • Administration and Production | Guy Hugler
  • Partners and Collaborators | COMMON EMOTIONS is co-produced by Theater Freiburg (Germany), Centre chorégraphique national de Rillieux-la-Pape (France),director Yuval PICK and The Diver Festival (Israel).  COMMON EMOTIONS was supported by “Störung/Hafraah”, funded by the German Federal Cultural Foundation.

Two Playful Pink

Two women. Three scenes. One evening, in which they respond to the constant gaze that inspects them. Being looked at, examined, and living up to the expectation, where the body operates as a social tool, they develop a relationship between them.  Inspired by surreal imagery and pop energy, the three different sections present different aspects of the female body and being, ultimately exposing a refreshing language: mysterious, funny and disturbing all at once.

  • photo: Tamar Lamm
    photo: Tamar Lamm
  • photo: Tamar Lamm
    photo: Tamar Lamm
  • photo: Tamar Lamm
    photo: Tamar Lamm
  • photo: Tamar Lamm
    photo: Tamar Lamm

Simple Action

In SIMPLE ACTION, Yasmeen Godder continues researching with her company how to use the performance medium as a means of connecting the audience to itself and to the performers, both as individuals and as a group, while at the same time engaging in themes such as empathy, understanding, identification and sensorial experience in real time, as part of the work’s structure. Spectatorship enters the realm of the experience. The piece, inspired by Stabat Mater,the famous Christian hymn, is newly  and composed and performed live by the musician and singer Tomer Damsky who is creating her own original and hypnotic version of it. Another wonderful collaborator is the visual artist Gili Avissar who is designing the space and the costumes. And the lighting designer Omer Sheizaf with whom Godder has been collaborating for many years will be creating a special light installation for the studio.

  • Photo: PR
    Photo: PR
  • Photo: PR
    Photo: PR
  • Photo: PR
    Photo: PR
  • Photo: PR
    Photo: PR
  • Photo: PR
    Photo: PR
  • Photo: PR
    Photo: PR
  • Photo: PR
    Photo: PR
  • Photo: Roberto Casarotto
    Photo: Roberto Casarotto
  • Photo: PR
    Photo: PR
  • Photo: PR
    Photo: PR

CREDITS

  • Choreography | Yasmeen Godder
  • Co-artistic director | Itzik Giuli
  • Alternating Performers | Tal Adler-Arieli, Shuli Enosh, Dor Frank, Ayala Frenkel, Uri Shafir, Ari Teperberg, Edu Turull Montelles, Ofir Yudilevitch
  • Space and Costumes Design | Gili Avissar
  • Composer, Singer and Musician | Tomer Damsky
  • Lighting | Omer Sheizaf
  • Administration and Production |  Ingy Rubin – The Mandel Cultural Center | Guy Hugler, Yasmeen Godder Studio
  • SIMPLE ACTION is  a production of the Jack, Joseph & Morton Mandel, directed  by Ingy Rubin as part of the Opera & Dance program

Climax

Described by Artforum Magazine as Yasmeen Godder’s “tour-de-force” choreography CLIMAX has been originally conceived as a site-specific performance for a Museum’s space. Reassembled anew by Godder to fit into varied of open spaces the work is an active invitation to the audience to move as they engage in an emotionally intimate, yet forcefully provoking performance.

Incorporating tension-filled movement phrases from Godder’s 15 years of artistic oeuvre, the two and a half hour long creation is choreographed to blend between performers, audience and space. The six dancers are situated in-close proximity to the public allowing themselves and the viewers to be captured and released from each other’s grasp. The almost ritualistic creation of circle shaped forms in the space turns the viewers into witnesses as well as participants.

Seamlessly deconstructing and integrating new situations out of Godder’s physical, emotional, communal, spatial, and conceptual lexicon of movements, the dancers are reassessing the human condition as it culminates throughout Godder’s concrete reality. The essence of dance and performance is rendered through the deftness and sensitivity of the dancers as they challenge the viewers’ perspective of space and time. Examining the art of performance and its relevance in our troubled age, CLIMAX utilizes repetitions, unisons and group tasks in an attempt to critically investigate current notions of national identity and self-determination.

Full length video link is available upon request.

  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon
  • photo: Gadi Dagon
    photo: Gadi Dagon

“The combination of live and still art and the white square, and the moving, howling, wallowing and licking dancers is a thrilling experience that nourishes the soul with its darkness, an experience created by the vision and daring of Yasmeen Godder and her group […] who created a unique, radical, groundbreaking, inspiring event that instills hope.”

Orna Oryan, Erev Rav (July 2014)

“The wonderful dancers deserve praise no less than the choreography – they express a physical and emotional totality that does justice to the emotional roller coaster they embody. They radiate truth and that is why everything that takes place is so touching. It is happening here and now.”

Ruth Eshel, Haaretz (July 2014)

 

Credits

  • Choreography | Yasmeen Godder
  • Co-artistic director and Dramaturgy | Itzik Giuli
  • Creating Performers | Shuli Enosh, Dor Frank, Yuli Kovbasnian, Uri Shafir, Edu Turull-Montells and Ofir Yudilevitch
  • Costumes | Adam Kalderon
  • Administration and Production | Guy Hugler
  • Climax was commissioned by The Petach Tikva Museum of Art for Set in Motion, Curated by Drorit Gur Arie and Avi Feldman

Lie Like a Lion

Lie Like a Lion is a creation in which dance, music and stage props are in a constant evolution. The dance movements, just as the objects on stage, are all part of Yasmeen Godder’s personal archive of solos made in the last 15 years. This time around, other than working with dancers, Godder sets to explore her own physical and emotional material in-collaboration with two musicians.

The presence on stage of the pianist Matan Daskal and the viola player Moshe Aharonov, both as musicians and performers, is permanently being examined. The tension between Godder and the musicians exhilarates as their function and appearance changes. While Godder unfolds layers of her fractured identity it is unclear whether the musicians are her allies or conspires. The uncertainty of the relations evolving on stage triggers Godder to challenge her current physical and emotional state as she exposes and displays the body’s desire to lose power and form.

De-contextualizing and re-working movements from previous creations allows Godder to reformulate her creative language and artistic skills. What began as a very personal research has turned into a conscious resonation of national and social expectations to overcome weakness. The struggle to hold onto a human frailty and sensitivity is emphasized through an introspective gaze immersed in a sense of existential terror.

Between disguise and pretense Lie Like a Lion takes us into a journey made of imaginary, fake and fantastical narratives. Movement structures are intertwined with bold and raw live music performance which forcefully engages us with Godder’s reflection on her work and proposals for the future.

  • photo: Yoav Brill
    photo: Yoav Brill
  • photo: Tamar Lamm
    photo: Tamar Lamm
  • photo: Yoav Brill
    photo: Yoav Brill
  • photo: Tamar Lamm
    photo: Tamar Lamm
  • photo: Tamar Lamm
    photo: Tamar Lamm
  • photo: Yoav Brill
    photo: Yoav Brill

“Godder remains a witch that enjoys bewitching herself. Once she enters this spellbound state of mind, her body is filled with condensed energy that barely holds the intensity of its’ own vitality. Godder is a spectacular performer.”

(Ha’aretz, January 2015)

 

“Godder is undoubtedly one of the leading feminine voices in the Israeli dance milieu… It is rare to see an artist as aware of herself as Godder.” (Jerusalem Post, January 2015)

  • photo: Itzik Giuli
    photo: Itzik Giuli

Credits

  • Choreography and performance | Yasmeen Godder
  • Concept and dramaturgy | Itzik Giuli
  • Piano player | Matan Daskal; Viola player | Moshe Aharonov
  • Lighting design | Omer Sheizaf
  • Sound engineering | Oren Cohen
  • Costumes | Adam Kalderon
  • Props | Aleena’s Wall (1999): Matchbox Corset by Ruth Palmon; Hall (2003): Flowers Corset by Anat Sternschauss, Long-Hair Wig; Two Playful Pink (2003) | Rubber Tits Bra by Ilanit Shamia; I’m mean, I am (2006) | Lion Mask by Alona Rodeh; Knife; Cigarettes and Candles; Love Fire (2009) | Red Rubber Flippers, Toulouse-Lautrec ‘s printed gown designed by Inbal Lieblich; See Her Change (2013) | Clown’s Wig, Pompon Belt, Mouth Streamer Coil ; Lie Lie A Lion (2014) | Fur installation by Gili Godiano and Ilanit Samia
  • Star Video | from See Her Change (2013) | Yochai Matos
  • Video Editing | Yonatan Bar-Or
  • Musical Pieces In Order of Appearance | Nico Muhly Drones and Violin – Material in Sevenths // Drones and Piano – Part 3 ( the 8th tune, after Thomas Tallis)// Drones and Piano – Part 5 ; Moshe Aharonov/ Matan Daskal Free improvisation // Salvatore Sciarrino Tre Notturni Brilianti per Viola Sola – 2, 3// Nico Muhly Drones and Viola – Material in D, Drones and Piano – Part 2// Salvatore Sciarrino Tre Notturni Brilianti per Viola Sola – 1// Gal Schuster Here/ Now for viola solo (excerpt) The piece was written in the frames of TPME, generously supported by the Adle and John Gray Endowment Fund
  • Rehearsal director | Dalia Chaimsky
  • Administration and production | Guy Hugler