Un homme saisit la tête d'un autre par-derrière, l'immobilise et lui colle sa bouche derrière le crâne. Une attaque rapide pour un accès de violence tordue. La bouche vissée, ventousée, semble transpercer la peau pour s'accrocher à l'os. Elle crache des sons à peine audibles qui pénètrent et semblent irradier la boîte crânienne. Cette étreinte empoisonnée fait culminer la tension au coeur du spectacle "Quiet" mis en scène pour quatre danseurs par le chorégraphe israélien Arkadi Zaides, programmé pour la première fois à Paris, au Théâtre de Chaillot, jusqu'au 26 octobre.→
Quiet is a response to the violence and to the increasing sense of mistrust between Israelis and Palestinians who live within the shifting borders of Israel. In a political climate that allows little space for reflection, Zaides felt the urgency to promote honest communication. Quiet reacts to the state of shock in which both sectors of society often find themselves. The work functions as a safe zone; a place where one can let his demons out; where irrational responses are legitimized; where a broader perspective is sought and trust is gradually built.
Quiet features four performers that reveal a complex emotional landscape: aggression, compassion, confusion, and yearning that form an intensive dynamics. The creative process drew heavily on the diversity of the participants: Jewish and Arab actors and dancers from various backgrounds. In the heart of the work lies a will to embrace the complexities and find a quiet place.
Quiet was premiered in Tmuna Theater, Tel Aviv, 2010.
Credits & CollaboratorsChoreography & direction Arkadi Zaides Artistic collaborator Joanna Lesnierowska Performed by Muhammed Mugrabi, Rabie Khoury/Yuval Goldstein, Ofir Yudilevitch, Arkadi Zaides Music Tom Tlalim Additional tracks by Ziv Jacob, Domenico Ferrari, Ran Slavin→ Set Klone→ Light Firas Roby Costumes Salim Schada Production Hila Kaplan Co-produced by Arts Station Foundation, Poznan (PL)
Articles & Reviews
Quiet opens with the sound of water. Three men lie down in the darkness, the shadow of a fourth man stands in front of a wall. As the space fills with light, colorful birds and graffiti can be seen in the background. They could be anywhere, but for anyone who recognizes the hooded eyes and bold lines of the creatures drawn on the wall by Klone, they are here in Tel Aviv. They could be any four men, but they are two Arabs and two Jews, who have been working together to create Quiet, choreographed and directed by Arkadi Zaides.→
In a weekly event throughout the season, Dansehallerne presents meetings between affiliated artists and guests. In the upcoming session which topic is 'Choreography or Activism?' Arkadi Zaides will have a conversation with the choreographer Efva Lilja.
The experience and representation of collectivity are closely linked to an active act of imagination and representation where identities are not just given but constructed and performed. Thus, artistic and theoretical practices matter in this process of chosen or imposed filiations and legacies. What does it mean when a body, in the desire of having something in common, of sharing certainty, stands in for a broader cause? How do gestures and movement equip us with a sense of recognition, with a feeling of home? And where does collectivity end up in monitoring our imagination and introduce (self-)censorship? “Violence of Inscriptions #3” will host Farah Saleh, Frédéric Pouillaude, deufert&plischke, Jens R. Giersdorf, Didem Pekün, Kat Francois and Invernomuto for the 3ed event in the series.
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.→