source:youtubecom
Kungliga Operan har inlett ett samarbete med produktionsbolaget Robert & Robert – ett svenskt företag specialiserat på Virtual Reality (VR). Det är Sharon Eyals kritikerrosade verk Half Life som spelas in med Virtual Reality-teknik. Parallellt ges verket på Operans stora scen 13 oktober – 2 november. Den färdiga VR-filmen släpps i början av 2018. Läs mer på https://www.operan.se/halflifevr

Step right in to our dance company’s production of Half Life to find out what it is like to give it all in a dance performance. Feel every move and every heartbeat in this suggestive dance experience, where you will get up close and personal with the Royal Swedish Ballet. Choreographer Sharon Eyal’s work vibrates with raw energy that will stay with you long after you have tried out Half Life – the ultimate Virtual Reality experience. This is the first digital dance piece staged at the Royal Swedish Opera, created in collaboration with Robert & Robert Studios– a Swedish production company specializing in VR.
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source:sharoneyaldancecom
Co-Founder, Co-Artistic director and choreographer of L-E-V
Sharon Eyal was born in Jerusalem. She danced with the Batsheva DanceCompany between 1990- 2008 and started choreographing within the framework of the company’s Batsheva Dancers Create project.
Eyal served as associate Artistic Director for Batsheva between 2003-2004, and as a House Choreographer for the company between 2005-2012.
During 2009 Eyal began creating pieces for other dance companies around the world: Killer Pig (2009) and Corps de Walk (2011) for Carte Blanche Dance of Norway; Too Beaucoup (2011) for Hubbard Street Dance Chicago; Plafona (2012) for Tanzcompagnie Oldenburg, Germany.
In 2013 Eyal launched L-E-V with her long-time collaborator Gai Behar.

L-E-V’s repertoire consists of 6 creations, Their latest piece Love Chapter 2, premiered at the Montpellier Dance Festival in July 2017. For the second time L-E-V’s creation is co-produced with two of the leading dance venues around the globe: Sadler’s Wells- London and Julidans- Amsterdamand this year, for Love Chapter 2, also joined for the co-production: Montpellier Danse Festival, MIGROS Culture Percentage – Dance Festival STEPS, the RomaEuropa Festival and Theater Freiburg.
Winner of the FEDORA – Van Cleef & Arpels Prize for Ballet.

Over the past 5 years since L-E-V was founded, the company had more than 200 performances some in the most exclusive venues and festivals around the world such as: The Joyce Theatre – NYC; Jacob’s Pillow; Sadler’s Wells – London, UK ; The Montpellier Danse Festival – France; Julidans – Amsterdam.

Alongside their work with L-E-V, Eyal and Behar had also been commissioned to create for external companies: the Nederland Dance Theatre- Sara (2013); Bedroom Folk (2015); Feelings (2016); Salt Womb (2016); Half-Life for the Royal Swedish Ballet, and more.
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source:thetalkscom
Ms. Eyal, why do you dislike the term choreographer?

Well, I’m doing what I love to do, and for me it’s like I’m making a dream. I’m dreaming and then I’m putting it out. Of course it’s my work, but it doesn’t matter how you call it — it’s something that was always there for me.

Do you find it limiting?

Choreography has become just about one thing, just about doing a dance piece for example. But for me, it’s a lot about the atmosphere, the emotions — there are a lot of elements together. It’s a bit less dualistic. It’s just creating what I love: I love to dance and I love to create.

So you are not interested in creating a narrative for a dance piece?

I think it’s not that I’m not creating a character, and not making a story —because there is story and character in everything! Even if you didn’t mean it, it’s just there. It already exists.

“I believe in the story that comes from inside the body.”
And the audience projects their own interpretation on top of that story anyway.

Right, and in fact, a lot of times when I’m creating something, it’s only after that I see the story, or realize what I wanted to say. And then I see very clearly why I did it! It’s not because I meant it, but rather because I went along with my feeling. It’s a long process and I think it comes from somewhere else, from my subconscious. But at the same time, the dots are also never really connecting because the process continues and I’m always learning inside the process.

You also once described your process of movement creation as “searching inside the body.”

Yes, I believe in the story that comes from inside the body. My dancers always say that this style is really hard, both physically and emotionally. But the more extreme it is on the body, the more the emotion comes out! My dancers sometimes cannot breathe, or sometimes they cannot sleep for a couple of days because it’s so demanding on the body and the mind.

It’s like running a marathon.

It is, because of the physical and emotional aspect! I think it’s also in connection to the total feeling that I’m looking for.
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source:laventanaclubculturalcom
DESTINADA A OCUPAR EN BREVE EL TRONO DE LA MÍTICA BATSHEVA DANCE COMPANY, LA COREÓGRAFA ISRAELÍ LLEGA POR PRIMERA VEZ A GRANADA PARA PRESENTARNOS LA PIEZA QUE LEVANTÓ DE SUS BUTACAS A TODO EL PÚBLICO QUE, DURANTE UNA HORA, SUCUMBIÓ A LA HIPNOSIS DE SEIS BAILARINES SUPERDOTADOS EN LA OPÉRA COMÉDIE DE MONTPELLIER DURANTE SU FESTIVAL INTERNACIONAL DE DANZA 2017.

UN ESPECTÁCULO ALEGRE Y TRISTE, TRISTE Y ALEGRE. EXTREMO, SUBLIME Y GROTESCO.

Nacida en Jerusalén, Sharon Eyal ha bailado con la Batsheva desde 1990 hasta 2008 para posteriormente pasar a coreografiar en el exigentísimo marco del programa Batsheva Dancers Create y llegar a convertirse entre 2005 y 2012 en coreógrafa asociada a dicha compañía.

En 2013, Eyal decide unir sus esfuerzos a los de Gai Behar, figura muy conocida en la noche de Tel Aviv, para fundar su compañía L-E-V.

Julio 2016 es la fecha clave en su carrera. El Festival Montpeller Danse ejerció de introductor de embajadores para toda Europa de una artista que ahora se disputan las programaciones de los grandes auditorios internacionales y es demanda por los ballets más prestigiosos.
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source:tollhausde
Sharon Eyal, die einst in der israelischen Batsheva Dance Company tanzte, ist eine weltweit gefeierte Ikone des zeitgenössischen Tanzes. Gemeinsam mit ihrem Partner Gai Behar, mit dem sie auch die Kompanie L-E-V vegründete, schuf sie ein Stück für das von Honne Dohrmann geleitete Ensemble tanzmainz. Eine Ehre, die zuletzt nur dem Nederlands Dans Theater und dem Royal Swedish Ballet zuteil wurde. Inspiriert von starken Emotionen rund um das Thema „Liebe“ verbindet „Soul Chain“ Ballett und elektronische Musik zu einer packenden zeitgenössischen Tanzperformance. Ein elektrisierendes Gesamtkunstwerk, in dem das Ensemble, angetrieben von den Beats des Komponisten Ori Lichtik, innerste Kräfte freisetzt.