My work is located between the fields of theatre, dance, performance and sound.
The main axis of my entire research, on all its levels, is listening. It is through the real, pure action of deep listening that I wish to calibrate and tune mine, and my performers’ bodies into different performative “mechanisms” that allow a synesthetic alchemy of the senses to take place - sound transforms into movement, touch into sound etc.
The practice I am developing revolves around these mechanisms, which are in fact performative improvisational scores that have clear, almost mathematical rules as to what is your input, what is your output, and in which pattern they function.
Consequently - simply by applying these rules - soundscapes, movement and drama are created, and dense inter-relational structures emerge.
I spend a long time observing and listening to these sessions, and in so doing, I witness the phenomena that they expose - about the body and its limitations, the nature of language, voice and perception.
These mechanisms grow into “scenes” in my pieces, and the dramaturgy involves the creation and establishment of each set of rules, as well as the transition between one mechanism to the other. The conventions, or the instructions within each mechanism, always carry a poetic echo - they bear a dramatic essence in their very definition.
The other side of this work has to do with the presence of the performer within these mechanisms. With this practice I wish to bring the performer to a hypersensitive, fully receptive and reactive state. Through a listening that involves the entire body and an alertness that hunts for the live impulse, I grasp the performer as a translator, whose artistry is shown by his skill and wisdom to receive input and create output in a clear, transparent setting in which he is exposed and fragile, but at the same time very present and fully free to create and to interpret the instruction.