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2012
Choreographer(s) : Ruttenberg, Dana (Israel)
Present in collection(s): Maison de la Danse de Lyon
2012
Choreographer(s) : Ruttenberg, Dana (Israel)
Present in collection(s): Maison de la Danse de Lyon
The film follows the construction, eruption, corruption and destruction of the masculine self and other. It investigates the boundaries of masculinity, and the forces that operate on the male body, while borrowing from different cultures and modalities. The movement language can be traced to traditional forms and concepts integral to martial arts. It translates it into a contemporary individualized expression in different
ways, while counterbalancing it with the mundane “every day” gestures of male bonding.
Format on location | Director Oren Shkedy, ScreensArt (Israel) | Director of Photography Ram Shweky | Duration 21' 21'' | Production Year 2012 | Dance Style Contemporary dance | Choreography by Dana Ruttenberg, ScreensArt (Israel) | Source video/audio HD/Stereo
IMZ - dance screen 2013 participant - Category C3
Israeli born dancer and choreographer, graduate of The Bat-Dor School of Dance and the Thelma Yelin High-school for Performing Arts (...)
As artistic director of her NY based dance troupe between 2000-2003, The Red Hill Project, she has created works that showcased at various venues, including Dancenow/NYC, Joyce Soho (...) Since her return to Israel in 2003, she has been teaching, giving workshops and choreographing for the Batsheva Dance Ensemble, OtherDance (...)
Ruttenberg seeks to create works that engage all the senses, not excluding the sense of humor, and to expand the existing audiences for dance. To that aim, she collaborates with artists from different fields, and examines new angles for the presentation and experience of dance. For instance, her work "NABA 2.0" currently in residence at the Tel Aviv Museum of Art allows audiences, through the use of museum Audio Guides to choose the soundtrack for the work themselves. Please Do Not Feed the Dancers is performed in an empty pool with the viewers watching it from above, and the gender-flexible POLY is presented with alternating female/male casts performing the same roles.
Ruttenberg continues to produce and present her own work in Israel and abroad. Her Dance-Film Private I's (Director: Oren Shkedy) has screened at international film festivals (...)
Source: Dana Ruttenberg Dance Group 's website
Parcours
Parcours
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
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Parcours
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
Exposition virtuelle
Exposition virtuelle
Une sélection de vidéo-danses mexicaines réalisée par le festival AGITE Y SIRVA (https://www.agiteysirva.com/).
Parcours
Parcours
Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.
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Parcours
This Parcours introduces several extracts of works by contemporary Quebecois choreographers, situating them in an anthropological perspective.
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Parcours
This parcours presents different video extracts in which hands are the center of the mouvement.
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Parcours
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Parcours
Here is a sample of extracts illustrating burlesque figures in Performances.
Parcours
Parcours
A walk between different conceptions and receptions of genres in different styles and eras of dance.
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Parcours
Stage theater and studio are not the only places of work or performance of a choreographic piece. Sometimes dancers and choreographers dance outside.
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Parcours
This Parcours presents different Belgian choreographers who have marked history and participated in the creation of a "Belgian" style.
Exposition virtuelle
Exposition virtuelle
La biennale de la danse créée en 1984 à l’initiative de Guy Darmet voit en 1996 s’ajouter à son programme un nouvel événement : le Défilé.
Parcours
Parcours
In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.