Ohad Says: The 7 Best Quotes from the Mr. Gaga Film
The new documentary, Mr. Gaga, portrays the life and work of Ohad Naharin, director of Israel's Batsheva Dance Company and one of the most influential choreographers of our time. The film, directed by Tomer Heymann and produced by his brother Barak, is full of humor, pathos and swatches of startling choreography. Brilliantly edited to reveal connections between family and profession, hard dancing and playfulness, it shows clips from recent works like Hora (2009), Sadeh21 (2011), The Hole (2013) and Last Work (2015) as well as earlier works like Tabula Rasa (1986), Sinking of the Titanic (1989) and Anaphase (1993). We hear insights from choreographers Reggie Wilson and Gina Buntz and one of Naharin's early teachers, Judith Brin Ingber (former Dance Magazine editor and author of Seeing Israeli and Jewish Dance.)
The rehearsal process is sometimes harsh, but the film is ultimately very moving. The glue that holds it together is Naharin's voice and the scenes where he's coaching the dancers. Anyone who has taken a Gaga class from Naharin will recognize some of these bon mots from the film:
- "The more you let go of everything in your body all at once, the softness of your flesh will protect you."
The Hole, a site specific work
- "The idea of physical pleasure from physical activity was totally part of how I conceive myself as being alive."
- "I was lucky that I started my formal dance training so late—at the age of 22— so I was a lot more connected to the animal I am."
- "Many times when I dance, I connect to feminine forces, forces that create availability to both yielding and explosiveness, to both delicacy and aggressiveness."
Naharin with daughter Noga
- "What is unique about gaga is the demand to listen to our body before we tell it what to do and the understanding that we must go beyond the familiar limits on a daily basis."
- "Now I don't separate any more the interpretation of the dancers from the act of choreographing. The act of choreography is also the act of helping my dancers to interpret my work."
- "To mourn a big loss and to dance—they don't contradict each other. It's like they live in the same space. I really believe in the power of dance to heal."
Jennifer Kahn knew the theater industry could do better. As a professional stage manager for 17 years she worked on regional, off-Broadway and Broadway shows. Nearly each time a show closed, something unsettling happened: "I would watch them throw away our shows. All of the beautiful artwork by my friends in the paint shop would go in the trash." The elaborate backdrops? Gone.
But she had an idea: What if the material used in the backdrops and legs could be upcycled into something new? And what if theater lovers could literally keep a piece of a beloved show?
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.
For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.
New York City Ballet principal Sara Mearns wasn't sure she was strong enough. A ballerina who has danced many demanding full-length and contemporary roles, she was about to push herself physically more than she thought was possible.
"I said, 'I can't. My body won't,' " she says. "He told me, 'Yes, it will.' "
She wasn't working with a ballet coach, but with personal trainer Joel Prouty, who was asking her to do squats with a heavier barbell than she'd ever used.