An evening of ballets by Hans van Manen and Sharon Eyal
At first sight one would not describe the works of Hans van Manen and Sharon Eyal as blood relatives. One needs on the one hand to look more closely in order to see what they have in common and what links them and, on the other ,to take a few steps back and leave more distance, as one might with a couple of paintings that, while appearing to be in different styles, nevertheless in some inexplicable way enter into a dialogue when they are placed next to each other. Their affinity lies in their precision, in their incisive focus and accurate, uncompromising gesture – and classical ballet remains the core and point of reference for them both: the blood in their veins.
While van Manen has spent decades establishing a style of his own whose elegance and generosity aspires to the breadth of classical lines, the Israeli choreographer Sharon Eyal travels inwards: with her eerie movement language of grotesquely hunched, repetitively disciplined bodies she builds up states of trance that lead us to the very depths of dance.
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