ROOSTER -------------- Barak Marshall

Rooster wedding

Choreography: Barak Marshall
Music: Music mix by Barak Marshall and Giori Politi
Re-staging: Osnat Kelner
Assistants: Rachel Erdos, Alma Munteanu
Costumes: Marion Schmid
Lighting: Eric Pellin

This was a coproduction by the Suzanne Dellal Centre and the Israeli Opera which premiered in November 2009 at the Tel Aviv Opera House.

"Rooster" is based on a short story "Bontsha the Silent" by Isaac Loeb Peretz and is about an unfortunate young man during a night of sporadic dreams. Barak Marshall creates entertaining moments which will delight the audience. "Rooster" is very much a  dance theatre work at once funny, sad, and lively.

"Barak Marshall is a true creator, a mature choreographer with a powerful style and a unique voice. His work is original, powerful, frenzied, carried along by excellent dancers and by an inner momentum and an intelligence which give it a dramatic fluency."
Raphael de Gubernatis, Le Nouvel Observateur, 2nd February 2009

The Dog Days are Over

Jan Martens

DogDays gregory batardon8D1A3327THE DOG DAYS ARE OVER was Jan Martens’  first work for a group of dancers since his debut I CAN RIDE A HORSE WHILST JUGGLING SO MARRY ME from 2010.

The starting point for the work is a quote by American photographer Philippe Halsman who said back in 1958:

"When you ask a person to jump,
his attention is mostly directed toward the act of jumping
and the mask falls so that the real person appears."

THE DOG DAYS ARE OVER will be a work that tries to reveal the person behind the dancer. To reach this, a very complex, mathematical, dynamic and tiring choreography is constructed, which is performed almost completely in unison. The difficulty degree of the choreography is so high, that the dancers eventually will go wrong. It is there where the mask falls. The dancer is defined as an idle and purely executing species, striving for perfection.

But THE DOG DAYS ARE OVER has also a more reflective aim.

It wants to provoke thoughts about the role of dance and art, it wants to question the audience’s perception about dancers, choreographers, audience and culture policy: Where lies the thin line between art and entertainment? Who are we as an audience, coming to see dancers suffer as if we are watching bullfights in an arena? Is contemporary dance striptease for the upper class?

THE DOG DAYS ARE OVER wants to make the watcher shift between being in the experience and reflection on that same experience. The performance will be a work that brings the spectator in a trance, but will also create a distance and time for that same spectator to question his or her reasons to be where they are right now: in the theatre.

Photo © Piet Goethals

BILL --------------------- Sharon Eyal & Gai Behar

bill gregory batardon 50A2750 site
: Sharon Eyal & Gai Behar
Music: Ori Lichtik
Lighting: Omer Sihaz
Costumes: Sharon Eyal and Gai Behar
Created in 2010 for dancers of the Batsheva Dance Company

The stage is dominated by the dancers dressed in flesh coloured body stockings, all wearing bright white contact lenses. The impression is one of uniformity which underlines the coherence of the group and thus exposes the soul and physicality of each individual dancer.
The dancers are constantly forming and reforming themselves in a group using the kaleidoscopic complexity of the choreography accompanied by the hypnotic throbbing rythms of the music, occasionally punctuated by piercing guttural cries.
Seeing the work is like watching the movement of a finely tuned watch; each dancer and each smaller group is necessary for the function of the greater whole. "Bill" plunges us into the dark recesses where thought is replaced by instinct.

"Bill" by Sharon Eyal is not merely a well-choreographed new work, it is, rather, a significant and marvellous creation which marks the next stage in the work of a talented artist who is not afraid of complexity.
Merav Yodilovich, Ynet, 2010

MONGER -------------- Barak Marshall

Monger photo Gregory Batardon 50A8197
Choreography : Barak Marshall
Assistant : Osnat Kelner
Lighting: Arnaud Viala
Costumes: Marion Schmid
Music: Taraf Ionel Budisteanu, Tommy Dorsey, Kocani Orkestar, Balakn Beat Box, Taraf de Haidouks, Goran Bregovic, Shye Ben Tzur
Production: Suzanne Dellal Centre
Running time 30 minutes (extract from the full work Monger)
Entered the repertoire on 30th May 2013 at the Salle des Eaux-Vives, Genève.

"Barak Marshall is a true creator, a mature choreographer with a powerful style and a unique voice. His work is original, powerful, frenzied, carried along by excellent dancers and by an inner momentum and an intelligence which give it a dramatic fluency."
Raphael de Gubernatis, Le Nouvel Observateur, 2nd February 2009

Monger means a merchant or a trader but it also means to peddle, sell or be sold. The work Monger is a kind of tragi-comedy performed at breath-taking speed which shows a society that is dealing with never ending trading and exhausting negotiations where each individual speculates and bargains with their own existence in the process. Whether it's a large or a small compromise that is needed for a society to survive it is ordinary people who are featured here.
The dancers play a group of servants in a house where they are at the beck and call of a demanding and fickle unseen mistress, Mrs Margaret, who is represented by an urgent and unexpected bell, and who governs their actions and movements according to her wishes. This framework gives rise to all sorts of deliciously colourful moments of choreography, using a mixture of music which brings together styles such as Klezmer music, Taraf de Haidouks, Balkan Beat Box, Yiddish songs, Verdi, Terry Hall and Handel, without forgetting the voice of singer Margarlit Oved who is also an actress and the mother of Barak Marshall. The piece's narrative explores hierarchy and submission in all its forms and is drawn from several sources including Jean Genet's play "The Maids", the work of polish author Bruno Schulz and Robert Altman's film,"Gosford Park". By virtue of the choreography, Monger makes perfect sense. Barak Marshall knows how to create movement which conveys meaning without becoming too obvious or stylized. It is in this movement, therefore, where dancers bump, fall and crash into each other and then bounce back, that we can understand the harsh yet tender citicism of humanity at work.

ZERO DEGREES.2 ---- Ken Ossola

ZeroDegrees photo FlorestanChoreography : Ken Ossola
Lighting: Marc Gaillard
Music: Alva Noto
Costumes: Edouard Hermans

“Zerodegrees.2” is a revised version of the solo work that Ken Ossola created in 2005 for James O’Hara, a former dancer with Ballet Junior who now performs with, and assists choreographer Sidi Larbi Cherkaoui. In this version several dancers have fun together on stage by going beyond the limits of the microcosm that they have created for themselves by creating a boundary for their space using red tape.

GIRLS AND BOYS ----- Roy Assaf


Choreography: Roy Assaf
Music: Music mix by Roy Assaf
Costume re-creation Marion Schmid
Lighting Eric Pellin

This is a new version of a work created for the Stadttheater Braunschweig in 2014

Having been the leading interpreter of work by choreographer Emmanuel Gat, Roy Assaf began his own creative work with the duet "Six Years Later" and the trio for male dancers "The Hill" which is the inspiration for "Girls & Boys". In 2014 he created "II Acts for the blind" for the Los Angeles Dance Project of Benjamin Millepied. Roy Assaf will soon be creating a work for the prestigious Batsheva Dance Company of Ohad Naharin.

Understanding Sugar (creation) - Jos Baker


Jos Baker will come to create a new piece with the dancers from the second and third years at the request of Patrice Delay and Sean Wood.

About the piece:
A wry look at loneliness and love. As we mature the stakes change but the fears, joys and themes in our lives stay the same. We are all searching for connections yet it often appears that everyone else finds that so much easier. When to fit in? When to stand out? And who is in charge of this relationship anyway?

AOW ------------------ Pierre Pontvianne

AOW Pierre PontvianneGregoryBatardon04
Ballet Junior de Genève has invited Pierre Pontvianne to create a piece specially for the company this season. 

For the choreographer, AOW is about the world's simultaneity torn apart or how our relation to time, space and events can be defined by what we choose to watch.



DIPgeneve100pxThe Ecole de Danse de Genève is accredited by the Département de l’instruction publique, de la formation et de la jeunesse Service écoles et sport, art, citoyenneté and recieves funding from the République and canton de Genève. 
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