‘Pretending to Give In’ is a short solo piece that stems from investigating Post-Trauma and ways trauma renders memory and manifests within the psyche. The creation process uses biographical elements of the performer- creator and opens a conversation with Kathy Acker’s experimental noval ‘Realm of the Senseless’. A first person literary piece that investigates feelings of body alienation and disturbance.
Created & Performed by: Kim Teitelbaum
lighting: Yair segal & kim Teitelbaum
sound: kim teitelbaum
track: srsq- 'the one'
Premiered in Intimadance festival, LIMBO 2022.
Under the artistic directors Stav Marin & Merav Dagan
in collboration with
moran itzhaky abergel
‘An Act of Principle’ is the fourth installment of ‘Working Tools’. In this project we were joined by stage director Ariel Sereni Brown and performer Dror Birger. We delved into deeper questions of Agency inside built choreography. We wanted to understand what is the innate tension between a group that is composed of subjects that ‘know’, and another group that ‘does not know’.
Performed by: Ariel Sereni Brown, Dror Birger, Moran Yitzhaky Abergel, Sarit Moleuf, Shimon Levi, Shira Golman, Orel Shitrit, Sarit Hamr.
Created by: Kim Teitelbaum & Moran Yitzhaky Abergel
in collboration with
moran itzhaky abergel
Beating is the third stage installment of ‘Working Tools’. A six year reserch project between kim teitelbaum & moran itzhakey abergel and a group of intellectually disabled adults from the city of Bat-Yam. This year we started to experiment with improvisation.
Choreographers: Kim Teitelbaum & Moran Yitzhaky Abergel
Assistant: Yuval Gal
Performers: Adar Danino, Hana Aharoni, Sarit Moleuf, Idit Levi, Aviva Yecoti, Ben Tibi, Shimon Levi, Shira Golman, Orel Shitrit, Sarit Hamr.
Maine Heroine is a physical collage that wishes to embody the presence of street folk within the arena of an ongoing live happening. by Using the performance as a disturbance and the gallery entrance space of Mandel art center as a street, the dancer moves freely between ready made crafted fragments of performative material to long sessions of freeze as portrayed in ‘Nice Guy’ addicts.
Nice guy is a heavily addictive drug that is used by some street folk (in Israel and primarily in south Tel Aviv), due to its low cost. the drug creates a freeze like state, in places where there is an abundance of addicts it is common to see people laying or sitting in frozen postures within the “functioning” masses that are walking to their daily routines- drug induced tableau vivants.
The addicts are also prone to drug induced psychotic breakdowns- painfully performative and completely communicative in regard to the upper mentioned periods of stasis. thus, the presence of the dancer is not that of a formal performance but a dislodged, broken collage.
THE PIECE WAS COMMISSIONED BY 'DIVER' FESTIVAL, for the purpose of DELVing INTO ONE OF THE CHARACTERS FROM THE PIECE 'ASTRATE' BY KIM TEITELBAUM AND MORAN YITZHAKY ABERGEL.
peremiered at diver festival 2019
supported by mandel cultural center in jaffa.
The entrance of the four female dancers onto the stage is plain, they are wet and pedestrian in their costumes. They arrive and then disrobe from shoes and some of their wet clothes, and as they untie their hair, Arnold Schoenberg's short opera piece 'Erwartung' comes into play, and the tempo of their motions slows down.
My choreographic practice in the process of working on 'The Gloaming' was deciding on mutual "invisible" elements that acted as focal points for the organization of the different scenes in the dance. These decided upon imaginary elements were objects taken from the Renaissance cannon (endless flowing fabrics, marble urns, golden arrows, exotic animals etc.) that could be then touched by, used or passed around by the four female dancers in elaborate choreographed structures. These structures and tasks resulted in agreed narratives that became occasionally clear to observer and occasionally opaque and undecipherable. The feminine as it is portrayed through the male gaze of antiquity is an ambivalent object. It evokes the witch and priestess, the heretic and the unknown. Could it be re- represented through a critical contemporary view point and reflected on as a point of origin for a new figure? Which in essence is an assemblage of all the periods prior to now?
Gili Inglis, Layil Goren, Shaked Mochiach & Annabelle Dvir.
AT kELIM, BAT YAM 2019