photo: Gadi Dagon
photo: Gadi Dagon
photo: Gadi Dagon

A Way

“Pleasure is the secret. The secret is to become silent and listen; to cease from thinking; to cease movement; to almost cease breathing; to create inner silence, from which awareness and abilities can pleasurably be revealed.” Alain Macjalshan.  

A Way was commissioned by Ohad Naharin for the Batsheva Ensemble in 2004. The work depicts an existential state rather than a narrative. Five dancers search for individual expression, each in his own way. They construct their movement on precise gestures that activate the body. Their language is convulsive and reflects inner contemplations, inciteful as they are painful. The process resembles an act of exorcism - a physical attempt to get rid of inner restlessness. The work culminates with a feeling of newfound freedom and composure - emotional extremes are reconciled and the five bodies finally come to an ease.

Credits & Collaborators

Choreography Arkadi Zaides Artistic collaborator Itay Weiser Music Collage Music editing Yoni Silver Light Jeckie Shemesh Costumes Dalia Lider Performed by Ron Amit, Eran Shani, Idan Yoav, Hadar Younger, Moran Zilberberg Idan Yoav Commissioned by Batsheva Dance Company

Past Events

18 January 2006
The Lab, Jerusalem, Israel

Articles & Reviews

Five dancers within a trapezoid

by Zvi Goren, Habama Online Magazine, 20/12/04

The movement in the piece is extremely personal, deriving from the dancers, each with his own personality and in search of a way from the inner to the outer. There is no story, but rather an individual existential situation, albeit portrayed by a group, or in the background.

The creation takes place within a restricted white surface, shaped like a

trapezoid, which is accentuated with the lighting – emphasizing that which is open, and no less the line distinguishing the inside from the outside.

The five dancers do not move in the conventional manner of dance. Their

dancing is built of small hand, leg and head gestures – even when the entire body is in perturbation or physical occurrence – much like a multi-angled mirror of inner struggles, painful or exiting. This is a very strong piece, original, creating a strong tension between stage and audience, and does not allow you to remain indifferent.

A Way

by Merav Yudolevitch, Ynet Online Magazine, 19/12/04

On a black stage, with an asymmetric white linoleum square in the middle, lay five bent dancers. Movement has begun before the eye can distinguish. Body touches body, head pushes hand, and it seems the movement has a life of it’s own, stronger then the will to control it. Five bodies share one space and attempt, each in his own way, to extricate something that insists on staying in, as if trying to get rid of an obsession. Zaides’s lines are clean, which is also true of the stage design, costumes and movement itself.

It’s difficult to distinguish whether the dancers deform in pleasure or anguish, but that line, fine and deliberately unclear, leaves the audience attention. As his previous creations, this is also an abstract piece that makes use of sharp and mechanical movements, yet at the same time very emotional and sensual. At the end of the piece Zaides brings together all the edges of emotion that unfolded throughout and allows, for the first time in the evening, the calm to return.

7—13 October 2018
THEORY OF PRACTICE, Symposium at DOCH, SITE & Eric Ericssonhallen, Stockholm, Sweden
The empathetic view in the theater

For all our Flemish and Dutch speaking friends, the Belgian magazine Etcetera has released an article by theater scholar Esther Tuypens discussing the use of empathy in performing arts. The article analyzes mechanisms of emotional identification in Arkadi Zaides’ creation Archive as well as in Milo Rau’s Empire. It is available online

15 November 2018

In collaboration with L’École Urbaine de Lyon.

Usages Géopolitiques Des Images

What influence do images have on migration policies? How do dictatorial regimes produce their imagery? Is there an ethical way to document war zones? USAGES GÉOPOLITIQUES DES IMAGES is a new publication that sets to examine these issues through the works of various contemporary artists. The book compiles the writing of twelve contributors, among them is Frédéric Pouillaude, whose essay examines  Zaides' practice over the past years.